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CATALOGUE 



OP 



DRAWINGS BY BRITISH ARTISTS 



AND 



AETISTS OF FOEEIGN OEIGIN 



WORKING IN 



GEE AT BEITAIN, 



PRESERVED IN THE 



DEPARTMENT OF PRINTS AND DRAWINGS 

IN THE 

BEITISH MUSEUM. 



BY 



LAURENCE BINYON, B.A., 

ASSISTANT IN THE DEPARTMENT OF PRINTS AND DRAWINGS. 



VOL. III. 



PRINTED BY ORDER OF THE TRUSTEES. 
SOLD AT THE BRITISH MUSEUM; 

AND BY 

Longmans and Co., 39 Paternoster Eow ; Bernard Quaritch, 15 Piccadilly ; 

Asher and Co., 13 Bedford Street, Covent Garden ; 

Kegan Paul, Trench, Trubner and Co., Paternoster House, Charing Cross Koad; 

and Henry Fbowde, Oxford University Press, Amen Corner, London. 

1902. 

[All rights reserved.'] 



i UQFii* 



mo 



LONDON.* 

PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, 

DUKE STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W. 



PREFACE. 



The present, being the third, volume of the official Catalogue of drawings 
by British artists and Foreign artists working in Great Britain, has been 
prepared like the former volumes by Mr. Laurence Binyon, Assistant in 
the Department of Prints and Drawings. It includes the letters I to 
R, and accordingly contains many names diversely distinguished in the 
history of British art, and among them some of the very highest eminence. 
Endeavour is always made in the department, so far as the means at its 
disposal will allow, to secure an adequate representation of the productions 
of native artists recently deceased ; so that alongside of the handiwork of 
the older masters, such as Kneller, Lawrence, Morland, Miiller, Reynolds, 
Romney, and Rowlandson, the student will find herein described examples 
of C. Keene, Lord Leighton, Sir John Millais, and John Ruskin. There 
are also included a few drawings by living artists, notably Professor Legros, 
who have been so generous as to enrich the Museum collections by presenting 
the Trustees with specimens of their skill. A special feature of the present 
volume is the transcript, on pages 198-221, of the manuscript notes and 
iournals of Sir Joshua Reynolds from the two sketch-books which contain 
the record of his observations in the churches and galleries of Italy during 
his early tours in that country. The transcripts previously published from 
these sketch-books had been both partial and perfunctory ; in Mr. Binyon's 
work the text from both books is given for the first time fully and com- 
pletely. For the rest, the same plan and method in all respects have been 
followed here as in Vols. I. and II. It is intended to complete the Catalogue 
by the issue of two more volumes — viz., a fourth to contain the remaining 
names of the alphabet from S to Z, as well as a supplement detailing the 
acquisitions which have come in too late for insertion under the main 
alphabet ; and a fifth giving full indexes of portraits, places, and subjects 
represented. 

SIDNEY COLVIN. 



CATALOGUE OF DKAWINGS 



VOL. III. 



IBBETSON, Julius Caesar (b. 1759, d. 1817). Painter; born at 
Scarborough ; apprenticed to a ship painter at Hull ; came to London 
1777 ; went as draughtsman in Cathcart's embassy to China, but 
returned from Java on Cathcart's death there ; after much domestic 
and pecuniary trouble, retired to Ambleside and later to Masham in 
Yorkshire ; painted cattle and landscapes in a style akin to 
Morland's, influenced by Wilson ; drew rustic scenes in water colours. 

1. Two on one mount, roy., viz. : — 

(a) Cattle on a Mountain Side. Two oxen lying down, and a cow standing 
between them, licking her flank ; behind, a steep hill-side. Signed and 
dated on the margin Julius Ibbetson ad Natur. de. 1793. 
Oil colours on paper ; 6| x 8| in. 
(6) Horses and Cart. Three horses standing by a cart, near a building,!., 
with a view over hilly country, r. Signed and dated on the margin Julius 
Ibbetson ad nat. del. 1793. 

Oil colours on paper ; 6| x 8$ in. 

2. Carter and Horses. A man with a basket loading a cart, to which a horse is 
harnessed ; two horses standing by, and a wheelbarrow in the foreground. 

Pencil ; roy., 5 X 7£ in. 

Nos. 1 and 2 were bequeathed by Richard Payne Knight, Esq., 1824. 

3. Landscape with Figures. A view over a valley with small lake, perhaps 

Rydal or Grasmere, to mountains beyond ; from the valley a road comes up to 
the r. foreground under a high rock and a spreading tree, where a peasant has 
just brought his horse and cart, in which are his family, to the top of the hill, 
while a man and a woman are going down the road to the valley. Signed 
Julius Ibbetson fecit. 

Water colours and Indian ink, strengthened in part with pen outlines ; roy. 
12£ X 17J. 

Purchased June, 1869. 

4. Cattle on an Upland. Upland pastures, with mountains behind bathed in 

evening light from the 1. ; two oxen about to fight on the further side of a 
stream's bed at the 1. ; others in the r. foreground, watching them or lying down. 

Water colours, with some pen work; roy., 7J X ilf in. 

Purchased October, 1877. 

5. A Farm Yard. Eough ground, with a horse and two cows feeding near a barn 

and haystack at the 1., and another cow lying down by a pond, on the near side 
of which, in the r. foreground, are some pigs ; beyond, a view of hilly country. 

Water colours, with some pen work; roy., 7f X llf in. 

Purchased May, 1890, at the Percy sale. 

VOL. III. B 



Drawings of the British School. 



IMAGE, Selwyn (b. 1849). Painter and designer; born at Bodiam ; 
studied under Ruskin at Oxford ; living artist. 

1. Album, containing designs for the ' Hobby Horse' magazine. 

(1) Design for a Woodcut. Two knights riding hobby horses. Signed and 
dated 8. L, 1883. 

Pen-and-iuk. 

Engraved on wood by W. H. Hooper for prospectus to the ' Hobby Horse.' 

(2) Design for Cover to the Magazine. Allegorical design, with a tree 
growing from among dead brambles and fungi, and dawn appearing beyond 
black mountains ; used as a border enclosing the title of the magazine, 
with the design described above, No. (1), as centre ; represented here by a 
proof from the woodcut pasted on the paper. Signed and dated S. I., 1881. 

Pen-and-ink. 

Engraved by W. H. Hooper. 

(3) (a) Initial D with a bird. 
(b ) Initial T with a bird, 
(c ) Initial P with a bird, 
(d) Initial W with a flower, 
(e ) Initial N with a bird. 

Engraved on wood and used in Vol. I. 



(4) Memorial Design for Arthur Burgess. ' The river of life overhung by 
the poppies of death, whence the soul, symbolized by a bird, flies upward 
into Light.' Inscribed IN. PI AM. MEMOR ARTVRI. BVRGESS. 
QVI. OB. MENS. MAIO. Dl. NON. MDCCCLXXXVI. Signed and 
dated S. L, 1886. 

Pen-and-ink. 

Eeproduced in Vol. I., p. 90. 

(5) Memorial Design for Matthew Arnold. Upright panel with chequered 
border, enclosing a design for oak leaves and briar roses with a butterfly 
and the inscription EXSPECTO RESURRECTIONEM MORTU- 
ORUM ET VITAM VENTURI S>€CULI. IN P.M. M.A. 

Pen-and-ink. 

Eeproduced in Vol. III., p. 83. 

(6) Conventional Design for Tailpiece. 

Pen-and-ink. 

Eeproduced in Vol. V., p. 27. 

(7) Memorial Design for William Bell Scott. The three trees, ARS, 

POESIS, PHILOSOPHIA, with a dove descending; inscribed IN P.M. 
GULIELMI BELL SCOTT. An upright panel with border. Signed &/. 

Pen-and-ink. 

Eeproduced in Vol. VI., p. 16. 

(8)-(9) ' The Beggar Maid.' Manuscript, with decorations of a play for children 
by Elinor Eendel. 2 pp. 
Pen-and-ink. 
Eeproduced in Vol. VI., p. 60. 

(13) The Shepherds listening to the Angels at the Nativity. Two shep- 
herds, one kneeling. Inscribed with text from the Vulgate on the border. 
Sigued 8.1. 
Pen-and-ink. 

Eeproduced in the new series, Vol. I. 
Presented by Herbert P. Home, Esq., October, 1896. 



Joseph Murray Ince. — W. 8. Inman. — Jane Ireland. 3 

INCE, Joseph Murray (b. 1806, d. 1859). Water-colour painter ; born 
at Presteign, Radnorshire ; pupil of David Cox ; worked in London 
and Cambridge 1826-1835; afterwards till death at Presteign ; 
exhibited landscapes, chiefly at Suffolk Street, 1826-1858. 

1. Water Break its Neck, Radnorshire. A deep rocky hallow, into which a 

torrent pours from above, and foams into the foreground ; a few pines and 
birches grow from hedges in the rock ; in the 1. foreground is a man sketching. 
Signed and dated J. M. Ince, 1831. 
Water colours ; roy., 8 X 13J in. 

2. Maeslotjgh Castle, Radnorshire. View of the castle rising above trees arid 

backed by hills, with an avenue of Scotch firs curving to it from the 1. fore- 
ground ; a man, followed by two dogs, riding up the avenue, and cattle in the 
park r. between the foreground and the castle. Signed and dated J. M. Ince, 
1831. 

Water colours ; roy., 8 X 13§ in. 

3. A Country House in Wales. A house seen from the drive, with a man at the 
door greeting a lady and gentleman on horseback ; behind, in the distance, a 
conical hill. Signed and dated J. M. Ince, 1831. 

Water colours ; roy., 8 X 13 J in. 

Nos. 1 — 3 were purchased February, 1880. 

4. Cheddar, Somersetshire. View looking up the village street from the hexa- 
gonal cross in the r. foreground to the church, which rises beyond cottages and 
trees ; a carrier with wiiggon and six horses comes along the road. Signed and 
dated J. M. Ince, 1845. 

Water colours ; roy., 8| X 13| in. 

5. High Street, Oxford. View from near Carfax, looking down the street as far 
as All Souls', with the spires of All Saints' and St. Mary's 1. ; the r. side of the 
street in shadow ; figures on the pavement and hooded carts and a coach in the 
road. Signed and dated J. M. Ince, 1837. 

Water colours ; roy., 13£ x 10£ in. 
Nos. 4 and 5 were purchased May, 1893. 



INMAN, W. S. (worked about 1815-1838). Architectural draughtsman; 
exhibited at the Royal Academy 1815-1838. 

1. Part of Old London Wall, taken from George Street, Tower Hill, 1818. 

Water colours ; 6| X 12 in. 

2. Part op Old London Wall, at the Back of Trinity Square, 1818. 

Water colours ; 7g X 12 in. 

Both in Portfolio XXXVII. of the Crace Collection of London Views, pur- 
chased November, 1880. 



IRELAND, Jane (worked about 1792-93). Miniature painter and 

etcher ; daughter of Samuel Ireland, the engraver and collector ; 

worked in London ; exhibited miniatures at the Royal Academy, 
1792-93. 

1. Portrait of Charles Lloyd. Bust in an oval, turned r.,the face looking full. 
Water-colour stipple ; 3| X 2$ in. 

Charles Lloyd, b. 1775, poet and friend of Charles Lamb and of Coleridge, 
died 1839. 

Inserted in a copy of Byron's ' English Bards and Scotch Reviewers,' enriched 
with illustrations collected by William Evans, purchased November, 1888. 

B 2 



Drawings of the British School. 



IRELAND, Samuel (d. 1800). Engraver, draughtsman and author; 
began life as a weaver, but taught himself drawing, engraving and 
etching, and produced a number of prints ; published ' Graphic 
Illustrations of Hogarth' 1794-1799, and a series of 'Picturesque 
Tours' 1790-1797, with illustrations by himself; best known as 
the father of W. H. Ireland, the celebrated forger of Shakespeare 
MSS., whose fabrications he persisted in believing genuine till his 
death. 

1. Kirby Hall, Noethampton. View of the house standing r., behind a wall, in 
which is an ivy-grown gate at the 1. 

Water-colour tint ; roy., 5 X 7 J in. 

2. Kirby Hall, Garden Front. View of the house from the garden, with water 
in the foreground. 

Water-colour tint ; roy., 4J X 6| in. 
Both purchased January, 1880. 



JACKSON, John, R.A. (b. 1778, d. 1831). Painter ; born at Lastingham, 
Yorkshire ; helped by Sir George Beaumont, he came to London, 
1804 ; studied at the Royal Academy and exhibited there from 1804 ; 
painted portraits, both in oils and in water colours, of a vigorous, 
plain excellence; elected A. R.A. 1815, R.A. 1817. 



1. Portrait of Dr. Edward Daniel Clarke. Bust in three-quarter face, 

turned 1. and looking 1. ; wearing the Cambridge LL.D. gown. 

Water colours, highly finished ; roy., 9| x 7| in. 

Edward Daniel Clarke, b. 1769, d. 1822, travelled in Europe and Asia and 
made collections of minerals and antiquities, now at Cambridge ; LL.D. of 
Cambridge, 1803, first professor of mineralogy in that university, 1808, 
librarian, 1817 ; published scientific and antiquarian works. 

Purchased February, 1852. 

2. Portrait of James Perry. Three-quarter length, seated, directed to front, 
the head in three-quarter face turned 1. and looking 1. ; the lower part of the 
figure only slightly indicated. 

Water colours, liighly finished; roy., llf X 9£ in. 

James Perry, journalist, b. 1756 at Aberdeen, came to London 1777, and 
after working on other papers, started, about 1789, the Morning Chronicle, 
which became the chief organ of the Whigs, and though prosecuted more than 
once was very successful ; d. 1821. Another water-colour portrait of Perry by 
Jackson was in Archdeacon Burney's, and afterwards in Dr. Percy's, collection. 

3. Portrait of Joseph Nollekens, R.A. Half length, seated with r. elbow on a 
table, directed to front, in three-quarter face turned r. but looking full. 

Pencil and water colours ; highly finished ; roy., 9g X 7^ in. 
For another portrait and for biography of Nollekens, see under Edridge 
(No. 2). 

Nos. 2 and 3 were purchased March, 1868. 

4. Portrait of John Bacon, R.A., after J. Russell, R.A. Bust turned to 1. 
and front, with hands holding chisel and mallet and resting on a marble head, 
the face in three-quarters turned r. and looking r. 

Water colours, highly finished ; roy., 7 J X 6§ in. 

After a portrait painted in 1792, and engraved by J. Collyer. For Bacon's 
biography, see in this catalogue under his name. 
Purchased February, 1852. 



John Jackson. 



5. Portrait of George Colman, Senior, after Reynolds. Half length, 
seated at a table, r. hand in coat, 1. arm on books, with face resting on 1. hand ; 
head in three-quarter face, turned 1. and looking 1. Signed and dated Jachson 
del. 1810, and inscribed George Colman Senr. Dramatist. 

Water-colour tint and stipple over black chalk, highly finished ; roy , 
10£ x 8f in. 

The picture by Reynolds was engraved in mezzotint by G. Marchi, in stipple 
by E. Scriven. 

George Colman, b. 1733, well known as author of the ' Jealous Wife ' and 
other plays, was manager of the Haymarket Theatre ; d. 1794. 

Purchased May, 1801. 

6. Two on one mount, roy., viz. : — 

(a) Study for the Portrait of a Lady. Three-quarter length, seated, 
facing to front, head turned a little 1., r. arm on back of chair. 
Indian ink, 3£ X 2J in. 
(6) Study for Portrait of the Same Lady. In the same attitude. Dated 
April 15th, 1808. 
Pen-and-ink sketch, 5& X 3§ in. 
Purchased February, 1849. 

7. Portrait of Hannah More. Head and shoulders turned 1., nearly in profile, 
and looking 1. ; wearing cap tied under the chin. 

Pencil sketch ; roy., 8| x 7£ in. 

Hannah More, b. 1745, won an early reputation as a writer of poems and 
plays, some of which succeeded on the stage ; was a friend of Garrick and Dr. 
Johnson ; in later life her writings were all religious and moral in aim, and were 
very widely read ; she established Sunday Schools and did much for education ; 
d. 1833. 

3. Portrait of Alexander, Emperor of Kussia. Half length, standing, turned 
to front and r., the face almost in profile, turned r. and looking r. ; in uniform, 
with 1. hand on sword ; bare-headed. 

Pencil sketch ; roy., 9 X 7J in. 

Alexander, b. 1777, succeeded to the throne of Russia, 1801 ; alternately the 
enemy and friend of Napoleon, whose invasion of Russia ended in disastrous 
failure ; increased his empire and bettered its condition by his reign ; welcomed 
in England, 1814; d. 1825. 

9. Two on one mount, roy., viz. : — 

(a) Portrait of a Gentleman. Head and shoulders directed to front, the 
face in three-quarters turned r. and looking r. 
Pen-and-ink sketch ; 8| X 7 in. 
Probably after a picture, not from life. 
(6) Portrait of George Colman, Senior, after Reynolds. Sketch from 
the same portrait as that described above, No. 5. Inscribed The first of S r 
Joshua' 8 pictures I ever saw, 13 Jan., 1802. 
Black chalk sketch ; 9f X 8 in. 
Nos. 7 — 9 were purchased July, 1856. 

10. Portrait of Sir David Wilkie, R.A. Head and shoulders in three-quarter 
face, nearly profile, turned 1. and looking 1. ; with mouth half open. Signed 
and dated J. Jackson del. 1807. 

Pencil ; roy., 7 X 5£ in. 

When this sketch was made, Wilkie, who came to London in 1805, was a pupil 
at the Royal Academy, and was twenty-two ; he was a close friend and comrade 
of Jackson and of Haydon. For his biography see in this catalogue under 
his name. 

Purchased July, 1860. 

11. Portrait of General Phipps. Half length, standing towards the 1., the face 
in three-quarters turned 1., looking full. Signed and dated J. Jackson del. 1818, 
and inscribed Genl. Phipps. 

Pencil ; roy., 8J X 7 in. 



Drawings of the British School. 



A half-length portrait of Phipps by Jackson, in the same attitude but in 
uniform, was engraved in mezzotint by C. Turner, and published 1824. The 
Hon. Edmund S. Phipps, M.P. for Scarborough (b. 1760, d. 1837), accompanied 
Jackson on a tour through the Netherlands in 1816, when the artist made some 
of the sketches described below. 

Purchased October, 1870. 

12. Study for Portrait of William Smith, LL.D. Head and shoulders, in full 
face, looking downwards. Inscribed Wm. Smith, Geologist. Signed and dated 
J. Jackson, del. Feb. 26, 1831. 

Pencil ; roy., 10| X 7| in. 

William Smith, b. 1769, a well-known geologist and civil engineer, spent his life 
chiefly in engineering drainage and irrigation works ; but his fame rests on his 
scientific attainments, as the founder of stratigraphical geology ; published his 
great geological map of England and Wales 1815; d. 1839. 

Purchased October, 1872. 

13. Portrait Stddt of an Octogenarian. Three-quarter length, sitting on a 
chair, turned to front and 1., and looking 1. ; r. hand on lap, 1. hand in coat ; 
wearing hat and gaiters. Inscribed Born May, 1719. J. Jackson del. Sepr. 1806. 

Black chalk on drab paper ; roy., lOg x 8J in. 
Purchased February, 1880. 

14. Portsait Study of a Lady. A young lady, with ringlets, half length; three- 
quarter face, looking 1. Inscribed Tlie last sketch by Jackson on his death-bed. 

Pencil ; roy., 9g X 8J in. 
Purchased November, 1884. 

15. Head of a Man, after Vandyck. Head of a man with small pointed beard, 

in a ruff ; full face, looking 1. 
Bed. and black chalk ; roy., 4£ X 3 J in. 

16. Nicholas Berchem, after Eembrandt. Study from the portrait in the Duke 
of Westminster's Collection. Signed Jackson del. 

Pencil ; roy., 8 J X 6 J in. 

17. Virgin and Child, after Parmigiano. The Virgin and Child on clouds. 

Signed and dated Oct. 5, 1808, J. J. From Parmigiano. 
Pen-and-ink ; roy., 7| X 4g in. 
Nos. 15-17 were published June, 1879. 



A village by a sheet of water under a 



18. Album containing landscape studies. 

(1) Scene in the North of England. 
hill, probably in Yorkshire. 

Pencil and monochrome wash. 
Purchased February, 1880. 

(2) (a) Church at Milton, Hants. Signed and dated J. Jackson, delt. 1806. 

Pencil. 

Purchased February, 1880. 

(b~) Lastingham, Yorkshire 
Oct. 28, 1828. 
Pencil. 
Purchased July, 1856. 



The artist's birth-place. Dated Lastingham, 



(3) (a) Cottages at Lastingham. 
Pencil. 



Signed J. Jackson delt. 



Purchased February, 1880. 

(6) Cottages at St. John's Wood. 
Pencil. 

(4) (a) Scarborough from Scalby Mill. 
. Pencil. 

(6) Scarborough from the South. Dated Scarbro' 20 Sep. 
Pencil. 



John Jackson. — Samuel Jackson. 



(5) Scarborough from the Beach. 

Pencil. 

Nos. (3) (b)-(5) purchased July, 1856. 

(6) (a) Steyne Hotel, Brighton. 

Pencil. 

Purchased February, 1880. 

(6) A Mansion in a Park. 
Pencil. 

(7) (a) Shakespeare's Cliff, from the Sea. Dated August 23rd!, 1819. 

Pencil. 
(6) Dover from the Pier. Dated Dover August 23rd, 1819. 
Pencil. 
Nos. (6) & (7) purchased July, 1856. 

(8) (a) Seat of J. Turner, Esq., Chiswick. 

Pencil and pen. 
Purchased February, 1880. 
(b) View of Haarlem from Outside the Town. Dated Haarlem Sept. 1st, 
1816. 
Pencil. 

(9) (a) Street in Chalons. Dated Chaalons Aug. 2'th, 1813. 

Pencil. 

(b) House with Tower, Noyers. Dated Noyers Aug. 2dth, 1824. 
Pencil. 

(c) A Village. Dated Aug. 27th, 1819. 
Pencil. 

Nos. (8) (6)-(9) purchased July, 1856. 
(10) (a) Street and Church in Sierke, Switzerland. Dated Sierre, Sept 6th, 
1819. Signed John Jackson, B.A. 
Pencil. 

Purchased February, 1880. 
(6) Gate of Sion, Switzerland. Dated Sion, Sept. &h, 1819. 
Pencil. 
Purchased February, 1880. 

(11) (a) Eampart of Narni. Dated Narni Oct. 12th, 1819. 
Pencil. 

(b) Gate of Spoleto. Dated October 12th, 1819. 
Pencil. 

(a) & (b) purchased July, 1856. 

(c) Euined Battlements of Nepi. Signed J. Jackson. Dated Octoberl 3tf*,'19. 
Pencil. 

Purchased February, 1880. 



JACKSON, Samuel (b. 1794, d. 1869). Landscape painter; born in 
Bristol ; pupil of F. Danby ; elected Associate of the Water Colour 
Society, 1823 ; painted in a style akin to that of Barret ; worked in 
England and Wales, chiefly in the neighbourhood of Bristol, and in 
the West Indies ; during his last years painted chiefly Swiss views 
in oils. 

1. The Kising of the Nile. Clusters of columns and ruins of temples scattered 
over a plain, darkened by a cloudy evening, with a strip of light on the horizon ; 
in the foreground shallow waves flowing out over the land. Signed 8. J. 
Sepia; roy., 5J x 13| in. 
Purchased May, 1890, at the Percy sale. 



8 



Drawings of the British School. 



1811-1821). Draughtsman 



JAMESON, J. H. (worked about 
biography unknown. 

1. Portraits of Grimaldi, Ellar and Barnes, in a Pantomime. Grimaldi as 
Clown, and Barnes as Pantaloon, with Ellar as Harlequin balanced between 
their shoulders. 

Water colours ; roy., 8f X 10 in. 

Joseph Grimaldi (b. 1779, d. 1837) was the most celebrated of all clowns and 
pantomimists. 

Purchased August, 1875. 

JARVIS, H. (worked about 1834). Draughtsman ; biography unknown. 

1. Uniform of an Infantry Officer, 1834. Whole-length figure in blue, with 
white trousers, sword and cap. Signed H. Jarvis, fecit, 1st March, 1834. 

2. Undress Uniform of an Infantry Officer, 1834. Whole-length figure, with 
large soft cap, holding a cane. 

Water colours ; 10§ X 7£ in. 
Purchased March, 1867. 

JOHNSON, Harry John (b. 1826, d. 1884). Water-colour painter; 
born at Birmingham; went as a boy in 1840 to Lycia with Sir 
Charles Fellowes ; pupil of S. Lines and W. J. Miiller ; member of 
the Institute of Painters in Water Colours. 

1. Isola San Giulio, Lake of Orta. Near view of the island with campanile 
towering r. above a house with a loggia which rises from the water ; distant 
mountains 1. Signed with monogram. Inscribed Isola San Giulio, and dated 
Sept. 20, 1852. 

Pencil and some water-colour tint on drab paper, heightened with white ; 
roy., lOf X 7f in. 

2. Courtyard, Isola Bella, Lago Maggiore. A courtyard at the back of old 
houses, with two women seated on steps under a balcony overgrown with a 
gourd. Signed with monogram. Inscribed Isola Bella, and dated Aug., 1847. 

Pencil and some water-colour tint on greenish-gray paper, heightened with 
white ; roy., 11£ X 14J in. 

3. Ventimiglia. View, from a sandy spit, of the town on a steep slope towards 
the r., with the mountains rising beyond it crowned with fortifications ; the 
town reflected in still water r. ; near the foreground, a woman seated under 
an improvised tent. Dated Ventimiglia, Sept. 5, 1851, and signed with 
monogram. 

Pencil with some water colour and body colour on greenish paper; imp., 
12f x 20 J in. 
Nos. 1-3 were purchased October, 1885. 

4. Angers. The banks of the Mayenne, which flows into the foreground ; at the 
r. the old town of Angers on its hill, dominated by the castle and cathedral ; at 
the 1, the lower new town ; in the distance a bridge, and nearer, the two ends 
of a suspension bridge (which gave way on April 16, 1850, when more than two 
hundred soldiers were drowned). Inscribed Angers, icith the suspension bridge, 
Aug., 1850. Signed with monogram. 

Pencil; imp., 12 x 25£ in. 
Purchased October, 1886. 



JOHNSON, J. (worked about 1814). 

1. St. Andrew's Church, Holborn, in 1814. 
Water colours ; 6£ x 8£ in. 

No. 95 in Portfolio XXVII. of the Crace Collection of London Views, purchased 
November, 1880. 



T. Johnson. — George Jones. 



JOHNSON, T. (worked about 1651-1675). Draughtsman; made draw- 
ings of Canterbury, etched by Daniel King for his ' Cathedral and 
Conventual Churches of England and Wales ' ; possibly also the 
engraver of a mezzotint portrait of Bullock the Comedian. 

1. The Baths at Bath. A large court surrounded by houses and containing two 
baths, the smaller, ' the Queen's,' at the 1., the larger, ' the King's,' at the r. In 
the centre of the latter a pavilion rises from the water, in which a crowd of 
men, women, and children are swimming, standing, and disporting ; the small 
bath is also filled with people, and numbers of spectators lean on the balustrades 
surrounding the baths and look from the windows of the houses. Signed and 
dated T. Johnson Delineat, 1675. Inscribed above with explanations of letters 
indicating particular parts of the bath, and with the inscription ' Bladud, son 
Ludhudebras | the eight king of the Britains | from Brute, a great philosopher | 
and mathematitian ; bred at Athens | and recorded the first discoverer | and 
founder of these baths j eight hundred sixty and three years | before Christ, that 
is two thousand | five hundred thirty five years | since | Anno Domini 1672.' 

Indian-ink wash and pen; imp., 13J x 18g in. 

Purchased June, 1881. 



JONES, George, R.A. (b. 1786, d. 1869). Painter • only son of 
John Jones the engraver ; studied at the Royal Academy ; served for 
a time in the Army and painted many well-known pictures of 
Peninsular battles and Waterloo, besides later historical events ; 
towards the end of his life produced a great number of drawings ; 
elected A. R.A. 1822, R.A. 1824 ; Librarian and Keeper of the 
Academy. 

1. The Deluge. A man standing in an attitude of despair on a rock, the last 
remnant of the land, while his wife, kneeling beneath, holds up to him his 
child ; corpses floating in the water, which stretches to the horizon under an 
inky sky. Signed and dated G. Jones, 1823. 

Indigo and sepia, with some pen work, on gray paper, heightened with white ; 
roy., 10§ x 8J in. 
Purchased June, 1869. 

2. Study for the Picture 'Battle of St. Vincent, Nelson boarding the San 
Josef.' The deck of the San Josef, with the San Nicolas seen beyond. At 
the r. Nelson, with a party of sailors and marines, leaps down from the 
San Nicolas, already boarded, and overpowers the few opposing Spaniards, 
whose commander on the quarter deck 1. stands ready to deliver up his 
sword ; men crowd on the rigging of both the Spanish ships, and on the 
bowsprit of the Captain, Nelson's ship, beyond. 

Sepia and pen, with some indigo ; roy., 12 x 16f in. 

The picture, purchased by the British Institution in 1827, was presented to 
Greenwich Hospital. 

3. Study fob a Picture : Akbah Impeded in his Conquests by the Sea. The 
Arabian conqueror Akbah at the head of his cavalry, riding into the surf of 
the Atlantic, on the Moorish coast, and lifting his sword while uttering a vow 
to heaven ; in the r. distance, the moon rising beyond the spears of Akbah's 
army. Inscribed with above title and Gibbon C. 51. 

Sepia, with some indigo ; roy., 9| x 12£ in. 

4. Study for a Picture : The Finding of the Body of Charles of Luxemburg 
on the Field of Cressy. A night scene ; a soldier, followed by two women, 
holds up a torch over the body of the blind king, who lies supine among; 
the dead knights, who had led him into the battle with their horses tied 
together. Inscribed Charles of Luxemburg, blind King (?), hilled at the battle 
of Cressy, Froissart 134. 

Sepia and indigo; roy., 7| X 11 £ in. 



10 



Drawings of the British School. 



5. Danae. Danae with the infant Perseus at her breast, in a boat on the rough 

sea. Signed G. Jones, B.A., and inscribed Danae. 
Indigo and sepia : roy., 9Jx 12 in. 

6. Thracians Defying the Storm. Four Thracians on horseback, shooting 
arrows at the thunderstorm breaking above them; a fifth lies on the ground, 
killed by the lightning. Signed Geo. Jones. 

Sepia and indigo; imp., 14§ x 18 in. 

7. Don .Emanuel de Souza wrecked on the Coast of Africa. Don Emanuel 

cast on the shore with his wife and two children ; they lie in a prostrate 
group, threatened by a huge wave, beyond which are dimly seen a «rowd of 
men on rafts, or struggling in the water, and the sinking ship r. Signed 
and dated Geo. Jones, 1824 (?). 

Indigo and sepia ; imp., 14J x 21J in. 

Nos. 2-7 were presented by Mrs. Jones, October, 1872. 

8. Album containing 94 small studies from the female nude, made in the school 
of the Eoyal Academy. 

9. Album containing 93 studies from the female nude. 

10. Album containing 93 studies from the female nude. 

11. Album containing 94 studies from the male and female nude. 

12. Album containing 93 studies from the male nude. 

13. Album containing 93 studies from the female nude. 

14. Album containing 94 studies from the male nude. 

15. Album containing 93 studies from the male nude. 

16. Album containing 99 studies from the male and female nude. 

17. Album containing 93 studies from the male and female nude. 

The drawings in Nos. 8-17 are all in black chalk, on tinted paper, heightened 
with white. 

1 8. Album containing 90 studies, somewhat larger than the preceding, from the male 

and female nude. 

Black chalk or sepia on tinted paper, heightened with white. 
Nos. 8-18 were presented by the artist, February, 1871. 



JONES, Inigo (b. 1573, d. 1652). Architect; born in London; 
worked in Italy and Denmark, returning 1604-5 ; designed scenery, 
dress, and machines for a long serie3 of masques by Ben Jonson, 
Chapman, Campion and others ; worked in Italy, especially at 
Vicenza, 1613-14 ; made Surveyor-General of Works, 1615 ; built 
(1619-22) the Banqueting House at Whitehall, which was to have 
formed part of an immense palace, but the designs were never carried 
out ; added a western portico to old St. Paul's ; built the piazza and 
church in Covent Garden, Ashburnham House, and The Grange, 
Coleshill, and other houses in the country ; fine collections of his 
drawings are at Chatsworth and at Worcester College, Oxford. 

1. The Death of Lucretia. Lucretia leaning back in a chair, supported by her 
father, 1., while her husband, r., pulls out the dagger from her breast, and a 
maid bends over her behind. 

Pen-and-ink ; roy., 10 X 7| in. 
Bequeathed by Sir Hans Sloane, Bart., 1753. 

2. Studies of Heads. Six heads of bearded men and five heads of women. 

Pen-and-ink ; roy., 9J X 7f in. 

Probably after drawings by Baldassarre Peruzzi. 

Presented by William Fawkener, Esq., 1799. 



Inigo Jones. 



11 



3. Four on one mount, roy., viz. : — 

(a) Two Heads. An old bearded man and a young woman looking down. 

Pen-and-ink ; 3£ x 2£ in. 

(b ) Head op an old Man. A bald old man, bearded, in profile, looking r. 

Pen-and-ink ; 3f X 3J in. 

(c ) Head op a Man with short pointed Beard. In profile, looking 1. 

Pen-and-ink ; 3J X 3£ in. 

(d) Sheet op Studies. Nude figure of a young man carrying a disk ; heads 
of a youth in profile, looking 1., and of a woman in full face ; below, studies 
of a hand, a small nude figure with a short cloak, a woman's face turned r., 
a mouth, eye, ear, and nose. 

Pen-and-ink ; 5§ X 7§ in. 

4. Four on one mount, roy., viz. : — 

(a) Three Heads. Heads of an old man and two young men, all looking 1. 
Pen-and-ink ; 3 J X 4 £ in. 

(&) Head op a Man. In profile, looking 1., wearing a cap. 
Pen-and-ink ; 3f x 2£ in. 

(c) Head of a Boy. In profile, turned 1., looking down. 

Pen-and-ink ; 2J X 2| in. 

(d) Studies op a Head. Studies of a female head turned r. and looking up ; 
turned 1. and looking up 1. ; and seen from beneath, foreshortened, 
turned 1. 

Pen-and-ink ; 4£ x 6| in. 

Nos. 3 and 4 were purchased from the Earl of Wicklow, August, 1874. 

5. Design for a Masque. Four figures of genii, two as men and two as boys, in 
compartments, separated by three blank panels; above, trophies of shields and 
helmets ; below, a narrow frieze of grotesque figures. 

Pen-and-bistre, with bistre wash ; roy., 7f x 10& in. 

Purchased June, 1880. Formerly in the collection of Sir Joshua Eeynolds. 

After Inigo Jones. 

Facade op a Church. Perspective drawing of the fa9ade of a church. With scale 
of feet, Scala di Braccie dodici Florentine. Inscribed in ink by Horace 
"Walpole Church at Leghorn designed by Inigo Jones, and in pencil by Kichard 
Bull and drawn by him ; given me by Lord Orford who wrote the above. 

Pen-and-ink, with Indian-ink wash; roy., 14J x 10f in. 

This drawing has no resemblance to the facade of San Francesco at Leghorn, 
ascribed to Jones by popular tradition ; nor does it appear to be his work. 

Purchased June, 1881, at the Bull sale. 

Portfolio, containing elevations and plans for the rebuilding of Whitehall Palace. 
The banqueting house at Whitehall was burnt down in January, 1618-19, and 
Inigo Jones built the new banqueting house on the site, 1G19-22. It was 
intended by the architect to be part of an immense palace, never built. For 
this palace Jones made at different times a number of drawings, but no complete 
design for the whole ; at least none survives. There is, however, a complete 
design, based on Jones's various drawings, at Worcester College, Oxford ; the 
work, as seems certain from a comparison with other signed drawings in the 
same collection, of John Webb, his pupil and executor. The Oxford set of 
drawings embodies Jones' earlier, colossal scheme, notable for its circular or 
' Persian ' court. Plans and elevations of this palace were engraved in W. 
Kent's 'Designs of Inigo Jones,' 1770. The drawings now to be described 
embody a later, diminished, and considerably different scheme. Some of them 
were engraved for Coliu Campbell's 'Vitruvius Britannicus,' 1717. Campbell 
says that he procured the designs ' from that ingenious gentleman, William 
Emmet, of Bromley .... from whose original drawings the following five 
plates are published.' Emmctt seems to have considered the drawings Nos. 
(l)-(8) to be by Jones himself, but the internal evidence must be considered 



12 



Drawings of the British School. 



decisive against this supposition. The question of rebuilding Whitehall was 
revived after Jones' death in the reign of William III., and again when Queen 
Anne came to the throne. Possibly Emmett was the architect applied to, as 
among the present set of drawings are designs by him for a palace for Queen 
Anne. 
[(l)-(20)] Elevations and plans of Whitehall Palace. 

(I) (2) Elevation of the East Front. 

Pen-and-sepia. 
Engraved with modifications by H. Hulsbergh in Campbell's 'Vitruvius 
Britannicus,' Vol. n., pi. in. 

(3) (4) Section of the Palace from North to South, looking East. 
Pen-and-sepia. 
Engraved by H. Hulsbergh in ' Vitruvius Britannicus,' "Vol. n., pi. v. 

(5) (6) Elevation of the West Side, from Within. 
Pen-and-sepia. 

(7) (8) Elevation of the South Front. 
Pen-and-sepia. 
Engraved by H. Hulsbergh in ' Vitruvius Britannicus,' Vol. n., pi. iv. 

(9) Elevation of the North Front, by W. Emmett. Inscribed The Incomparable 
Architect, Inigo Jones, having in y" year 1G39 presented these his designs for y" 
Building of White-Hall, to King Charles y a First : which through y" Iniquity of 
y" Times could not be put in Execution. It has unfortunately happened y l (as 
one evil is often y" cause of more) that y" North Front of this Design having been 
lost — I have to ye best of my Judgement Erected this Front, from y" Original Plan 
of Mr. Jones, in his stile, to make y e Designs Compleat. Wm. Emmett of Bromley 
in y e County of Kent. An" 1717. 

Pen-and-ink and Indian-ink wash. 

(10) Section of the Palace from North to South. Copy of (3) and (4). 

Pen-and-ink. 

(II) Elevation of the South Front. Copy of (7) and (8). 

Pen-and-ink. 



(12) Elevation of the East Front. Copy, with considerable alterations, of (1) 
and (2). 

Pen-and-ink. 

(13) Elevation of the West Front. Copy, with alterations in the same style as 
the last, of (5) and (6). 

Pen-and-ink. 

(15) Plan of the First Floor of the Palace. 
Pen-and-ink. 

(16)-(20) Plans of Portions of the Palace. Apparently in a different hand from 
the last. 

Pen-and-ink. 

(21)-(23) Part of the Elevation of a Palace designed by W. Emmett for 
Qceen Anne. One of the pediments contains the initials A. R. interlaced. 
Pen-and-sepia, with Indian-ink wash. 

(24, Fragment of the elevation of the same Palace. Signed and dated William 
Emmett de Bromley in Com Kent, Esqr., An Dom 171 . [last figure cut off]. 
Pen-and-sepia, with Indian-ink wash. 
Presented by G. W. De Norman, Esq , August, 1848. 



0. Jones. — T. H. Jones. — J. M. Jopling. — C. Joseph. 



13 



JONES, Owen (b. 1809, d. 1874). Architect and ornamental designer ; 
born in London ; son of a Welsh scholar ; pupil of Louis Vulliamy ; 
travelled in Italy, Egypt, the Levant and Spain, making a special 
study of Arab ornament ; published an elaborate work on the 
Alhambra, 1845, followed by a series of well-known works on 
Ornament, which had considerable influence on manufactures. 

1. Elevation of the Great Exhibition, Hyde Park, 1851. View of the 
4 Crystal Paluce,' seen lengthwise in perspective. Groups of figures scattered 
about the grass in the foreground and near the entrances. 

Water colours; ant., llf x 37f in. 

Owen Jones was appointed in 1851 to superintend the works of the Great 
Exhibition, and took an active part in the arrangement and decoration of the 
building. 

Presented by Sir Edward Durning-Lawrence, Bart., April, 1899. 



Draughtsman; worked in 



JONES, T. H. (worked about 1836-1848). 
London ; biography unknown. 

1. George, the Donkey Man. An old man standing by his donkey with hia 

arms folded, holding the bridle by one hand and looking 1. ; the donkey's 
saddle on the ground by his feet. Inscribed above Brightonian Sketches No. 1, 
and below, George the Donkey Man. T. H. Jones of London delt. 1836. 
Water-colour sketch ; roy , 12£ x 7£ in. 

Purchased March, 1851. 

2. Nell Gwynn's House, St. James' Square : Site of the Army and Navy 
Club. Signed and dated T. H. Jones 1848. 

Water colours ; 9£ x 6 J in. 

No. 96 in Portfolio XI. of the Crace Collection of London Views, purchased 
November, 1880. 

3. Hyde Park Gate, as it Appeared in 1756. Copied from an earlier drawing 
or print. 

Water colours ; 7| x 11§ in. 

No. 39 in Portfolio X. of the Crace Collection. 

JOPLING, Joseph Middleton (b. 1831, d. 1884). Painter; worked in 
London ; for some years clerk in the Horse Guards ; exhibited 
numerous pictures, chiefly domestic, also historical subjects and 
flower and fruit pieces, at the Royal Academy and elsewhere, 1848— 
1884; Associate of New Water Colour Society, 1859-1876. 

1. Queen Victoria Ee viewing Troops. The Queen on horseback in a scarlet 
habit and plumed hat acknowledging the salute of the troops marching past at 
the r. ; she is seen in profile looking r. and the troops are outside the picture ; 
at the 1. a group of the Prince Consort and Staff on horseback. 
Pen-and-ink, with water colour wash ; roy., 9| X 13f in. 

Purchased Ootober, 1886. 



JOSEPH, Caroline (worked about 
biography unknown. 



1800-1820). Miniature painter; 



1. Portrait op the Rev. T. Beresford; after a miniature. Bust turned to 
front, in three-quarter face, looking r. 
Water colour stipple ; 3 J x 3 in. 

Inserted in a copy of Byron's ' English Bards and Scotch Reviewers,' 
enriched with illustrations collected by W. Evans, purchased November, 1886. 



14 



Drawings of the British School. 



JOSEPH, George Francis, A.R.A. (b. 1764, d. 1846). Painter; 
studied at the Royal Academy, and exhibited there and at the 
British Institution, 1788-1846; elected A.R.A. 1813; painted 
historical and fancy subjects, and designed book illustrations, but is 
best known by his numerous portraits in oil and miniatures ; 
worked in London till 1836, afterwards at Cambridge. 

1. Portrait of Charles Lamb. Head and shoulders in three-quarter face turned 
1. and looking 1. Inscribed Charles Lamb 1819; dravm by G. F. Joseph, Esq., 
A.R.A. 

Water-colour stipple ; roy., 16J x 11 in. 

At the time when this portrait was taken, Lamb was forty-four and had 
obtained recognition as a critic ; but it was not till the following year, 1820, 
that he began the series of * Elia ' essays in the London Magazine, by which he 
became best known. Lamb was in 1819 living with his sister, in Russell 
Street, Oovent Garden. 

From a copy of Byron's 'English Bards and Scotch Reviewers' enriched with 
illustrations collected by William Evans, purchased November, 1886. 

JOY, William (b. 1803, d. 1867) and John Cantiloe (b. 1806, d. 1866). 
Marine painters ; brothers ; born at Yarmouth ; worked at Yar- 
mouth till about 1832 ; employed by Government as draughtsmen at 
Portsmouth ; worked afterwards in London and Chichester ; both 
brothers worked together on the same pictures. 

1. Men-of-War at Spithead. Calm water, with the coast 1. ; a three-decker 
line-of-battle ship near the foreground, with stern towards the r. and sails half 
set; at*the r. a two-decker coming to anchor from the 1., with her crew busy 
furling the sails ; at the 1. a yacht and some small boats ; evening light. Signed, 
and dated Joy, 1858. 

Water colours ; imp., 14J x 17$ in. 

2. Ships in a Storm. A three-decker man-of-war, with topmasts struck and 
shortened sail, driving towards the r. foreground under a storm of rain and 
wind ; at the 1. a disabled ship struck by a flash of lightning. Signed and 
dated Joy, 1858. 

Water colours ; imp., 14 x 20£ in. 
Both purchased December, 1883. 

JOY, John Cantiloe. 

1. Shipping in a Roadstead. A calm sea, with strip of beach in the foreground 

and part of the distant headland r. ; a group of fishing boats starting I., and 
more to the r. ; an English man-of-war anchored, and two others beyond at 
some distance ; a man on the beach with a shrimp net, and a small boat near 
the shore. 
Water colours ; roy., 7 J X 10§ in. 

2. Shipping in a Breeze. The sea near a coast, which appears in the distance 

r. ; a strong breeze blowing off the land, with rain-clouds ; near the foreground 
a cutter tacking to the r., and beyond her a brig going before the wind ; another 
brig 1., and in the offing 1. a ship ; smaller craft in the r. and 1. distance. 

Water colours; roy., 8| x ll| in. 

Both purchased May, 1877. 

JUDKIN, Rev. Thomas James (b. 1788, d. 1871). Amateur painter; 
exhibited landscapes at the Royal Academy and elsewhere between 
1823 and 1849 ; worked at Southgate. 

1. A Glen. A hollow in the hills, with groups of trees and a stream in the 1. 
foreground among rocks and bushes. Signed and dated Rev h T. J. Judlcin, 
1818. 

Charcoal and monochrome wash, heightened with white; imp., 11 g X 15 in. 

Purchased January, 1872. 



W. F. Kangiesser. — Angelica Kauffmann. 



15 



KANGIESSER, W. P. (worked about 1810-1820). Water-colour 
painter ; exhibited at the Old Water Colour Society and other 
galleries 1814-1815 ; worked in London, the Lake Country and 
Devonshire. 

1. Derwentwater from Castle Head. View from the brow of the hill, looking 
south over the whole extent of the lake, dotted with sails, to Borrowdale ; on a 
bank in the foreground at the 1. a man and two women under a group of birch 
trees. 

"Water colours : roy., 12 x 1GJ in. 
Purchased May, 1890, at the Percy sale. 

KAUFFMANN, Angelica, R.A. (b. 1741, d. 1807). Painter and 
etcher ; born at Coire, Switzerland ; daughter of a painter ; worked 
with precocious talent at Como, Milan, Rome and other Italian 
towns; from 1766 to 1781 in London, where she painted numerous 
portraits and decorations for houses ; a foundation member of the 
Academy, 1769 ; married 1781 Antonio Zucchi, a Venetian painter, 
and spent the rest of her life in Rome ; a vast number of her 
pictures were engraved, and she herself etched a number of plates. 

1. Study for a Picture. A young man, scantily clothed, sitting on the ground 
and looking up, with hand outstretched. Signed and dated Angelica Kauffman, 
B.A., 1771. 

Black chalk on brownish paper, heightened with white ; roy., 11§ X 19 in. 
Bequeathed by B. Payne Knight, Esq., 1824. 

2. The Judgment op Paris. Paris, sitting 1., egged on by Cupid at his elbow, 
offers the apple to Venus, whom the three Graces are unrobing ; at her feet are 
two doves billing ; at the r., frisking sheep. 

Pen-and-ink and sepia wash, heightened with white ; roy., 3J X 13£ in. 
Purchased May, 1846. 

3. The Death of Adonis. Adonis lying back supported 1. by a nymph, while 
Venus, r., bends over him and tries to staunch his wound. 

Chalks on brownish paper; roy., 14J X 11£ in. 

4. A Sacrifice to Ceres. Before a statue of Ceres, placed near trees at the r., a 
priestess is pouring into a tripod, while a girl, met by a boy, brings bread on a 
platter from the r., and another girl prepares to wreathe the statue with a garland ; 
behind the priestess sits a woman motioning a child to silence, and a little 
beyond, 1., two seated women sing, while a third, standing by them, plays a lyre ; 
further off, a dance of youths and maidens. 

Pen-and-ink and sepia wash ; roy., 8 x 13| in. 
Nos. 3 and 4 were purchased March, 1847. 

5. The Letter. Half-length figure of a girl seated at a table facing r., leaning on 

her elbow and reading over the letter which she has just written. 
Black chalk and stump ; roy., 4§ x 5 in. 
Purchased October, 1872. 

6. Fortitude. A female figure seated turned to r., but looking ]., with one arm 
resting on a column, and a lion at her feet. 

Black chalk and stump ; roy., circle, 12 in. diam. 

Engraved in stipple by Gh Scorodoomoff and published 6 Feb., 1777. 

Purchased October, 1875. 

7. Paris brought to Helen. Paris led by Cupid from the r., approaching a couch 
on which Venus sits with Helen. 

Black chalk on gray paper ; roy., lOf X 15 in. 
Purchased May, 1885. 

8. A Bacchante. A whole-length figure of a Bacchante holding a tambourine in 
one hand and a thyrsus in the other. 

Pencil on warm gray paper, heightened with white ; roy., 16£ X 10| in. 
Purchased October, 1886. 



16 



Drawings of the British School. 



KEARNEY, William Henry (b. 1800, d. 1858). Water-colour painter; 
foundation member and vice-president of the Institute of Painters in 
Water Colours ; painted chiefly landscape ; worked in London. 

1. Two on one mount, roy., viz. : — 

(a) Abergavenny. View on the banks of the Usk, which flows into the 1. 
foreground ; at some distance a bridge, the road over which winds along 
the side of the hills that rise above the stream ; on the bank are trees, and 
a group of women washing by the water ; a few houses on the 1. bank and 
some cattle in the stream. Signed with monogram. 

Water colours and Indian ink ; 5§ x 8| in. 

(b) Dolgelly. A group of cottages on rising ground at the r., with trees 

beyond ; a thatched shed is built against the nearest of them, and three 
cows are in front of it ; a path leads from tlie foreground, past the houses 
into the vale beyond, opening 1. to the horizon ; a girl with a pail near the 
shed, and two other figures further off. Signed with monogram. 

Water colours and Indian ink ; 6J x 9£ in. 

Purchased December, 1885. 



KEATE, George (b. 1729, d. 1797). Writer and amateur painter; born 
in Wiltshire ; lived for some years abroad, chiefly at Geneva, and 
became a friend of Yoltaire ; wrote poems, antiquarian papers, and 
an account of the Pelew Islands ; exhibited at the Royal Academy 
and elsewhere, 1766-89. 

1. Album containing views in France, Italy, Savoy, Switzerland and Dalmatia. 
All in Indian ink, some with pen outlines. 

(1) Frontispiece. A ruined alcove, inscribed Views of several places and of 
several peices [sic] of Antiquity in different parts of France, Italy, Savoy & 
Sivilzerland, taken in a Tour made thro 1 those Countries in the years 1754, 
1755 and 1756, together with some sketches of the Antiquities of Pola. 

(2) Decorative Title (by Robert Adam) : Pedestal of a ruined monument, 
with figures reading an inscription on it: That those whom curiosity may 
lead to turn over these drawings may account for their incorrectness, they are 
requested to remember that this collection was begun by accident and com- 
pleated without any knowledge of the rides of the art, etc. Signed R. Adam 
delint. 

For Adam, See Vol. I., p. i. of this catalogue. 

(3) (a) Decorative Title : ' Views in France.' 

(b) Head of an old Woman at Calais. 

(c) ' Our Host at Abbeville. July, 1754.' 

(d) ' Our Cicerone at Marli.' 

(e) Black Veils worn by all the Women at Amiens. 

(4) (a) Bridge over the Yonne at Joigny in Burgundy. Dated July 1754. 
(b) A View of the Town of Joigny. 

(5) (a) View near Sens on the river Yonne. Dated 1754. 

(b) View of a little Village in Burgundy. Dated July 1754. 

(6) View of Dijon. Dated July 2S</'- 1754. 

(7) (a) A Benedictine Convent on the Yonne. 
(6) A Market Woman at Chalons sur Saone. 

(c) Beggar Woman at Tournus. 

(8) (a) The Method of Cultivating the Vines in Burgundy. 
(b) Tue Method of Cultivating the Vines in Dauphixy. 



George Keate. 



17 



(9) (a) Convent of Carthusians at Dijon. Dated July 20 f A 1754. 
(b) Maeket Women of Burgundy, on donkeys. 

(10) (a) Remains of Aqueducts at Lyons; and Rmian Bath in the Garden of 

the Convent of Urculines. 
(h) ' An old Lady of Burgundy and her Maid on the Road.' Dated 1754. 

(11) View of part of Lyons from the Rhone. 

(12) (a) The Convent of Carthusians a little above Lyons. 
(b) Fetsin, upon the Rhone near Lyons. 

(13) (a) View of St. Pierre d'Assise, at Lyons. 
(Z>) ' Grenes sur la Rhosne.' Dated Aug 1 1754. 

(14) (a) View of Vienne from the Rhone. Dated Aug*- 1754. 
(b) Roman Monument near Vienne. 

(15) View of part of Vienne. Dated August 1754. 

(1G) (a) Pont de Clef, a League from Grenoble. Dated Aug'- 1754. 
(b) The Chamber of Parliament at Grenoble. 

(17) («) View near St. Laurent on the Road to the Grande Chartreuse, 

Grenoble. 
(b) View near the Grande Chartreuse. 

(18) (o) View of the Grande Chartreuse. 
(b) Different Habits of Carthusians. 

(19) («) The Cave of St. Bruno. 

(fr) A Countrywoman of Dalphine. Dated Augt. 1754. 
'(20) (a) View of Pont St. Esprit. Dated Augt. 1754. 

(b) Remains of Triumphal Arch erected to C. Marius at Orange. 

(21) (a) Petrarch's Castle and the Fountain of Vaucluse. Dated Augt. 

1754. 
(b) 'King Regnier's Mistress. From the original painting in the 
Convent of Celestines at Avignon.' Dated Augt- 1754. 

(22) Bridge of Avignon. Dated Augt. 1754. 

(23) (a) Part of the Walls of Avignon, from the Bridge. 

(b) A Mule of Provence. 

(c) Old Spinner at Marseilles. 

(24) The Pont du Gard. 

(25) (a) Tour Magne at Nismes. 

(b) Outer part of the Temple of Diana at Nismes. 

(26) Interior of the Temple of Diana at Nismes. Dated August 1754. 

(27) View of the Amphitheatre at Nismes. Dated August 1754. 

(28) (a) Inner part of the Corridor. 
(b) The Maison Carree, Nismes. 

(29) (a) Method of Ploughing in Languedoo. 
(6) Castelnaudary. 

(30) (a) La Grotte Percee, under which passes the Canal Royal. Dated 

Aug'- 1754. 
(b) The Eight Sluices at Beziers. Dated Augt- 1754, 



18 



Drawings of the British School. 



(31) (a) Bridge of the Canal Eoyal, near Narbonne, with the basin of 

THE SAME AT AYDE. 

(b) Episcopal Palace at Narbonne. 

(32) (a) Decorative Title : ' Views in the Mediterranean.' 
(b) Cavallaio, a small Bay in the Mediterranean. 

(33) (a) Santa Frettosa on the Mediterranean. 
(b) Mbditekranean Fishing Boats. 

(34) (a) Entrance into Monaco. 

(b) Chapel at Monaco. Dated Sept., 1754. 

(35) (a) Porto Maurizio. 

(b) 'Copied from the original painting in the Chapel of the Doge 
of Genoa. 1754.' 

(c) A Woman of Nice. 

(36) (a) San Kemo. Dated 8ep r , 1754. 

(b) The Royal Laundry of Genoa. Dated Sep r , 1754. 

(37) (a) Light-House at Genoa. 

(b) A Sketch of the Port of Genoa, taken from the fortificatious upon 
the rocks behind the city. 

(38) (a) Convent at Lerici. 

(b) Italian Kitchen at Lerici. Dated Sep r , 1754. 

(39) (a) Decorative Title : ' Views in Tuscany.' 

(b) A Soul rescued by an Angel : from the Last Judgment in the Campo 



Santo at Pisa. 

(40) (a) A Vintage in Tuscany. Dated Oct r , 1754. 
(b) Senators of Lucca. 

(41) (a) Lighthouse of Leghorn, from the Mole. Dated Ocf, 1754. 
(b) View of the Cascine at Florence. 

(42) (a) Colossal Statue in the Royal Villa of Pratolino, near Florence, 

representing the Apennine Mountain. 

(6) Bas-relief on an ancient altar at Castello, a Royal Villa three 
miles from Florence. Dated Nov r , 1754. 

(43) (a) Sketch of Baron Storch, a famous antiquary of Florence. 
(&) Plan of the church of S. Spirito, Florence. 

(44) (a) Gateway near Florence. 
(&) Bridge near Florence. 

(45) (a) Convent of La Trappe in Tuscany. 
(6) A Monk of La Trappe in his cell. 

(46) (a) A Convent of Camaldolebi in Tuscany. 
(b) Inner part of the same. 

(47) (a) View near Artimino in Tuscany. 

(6) A Pilgrim at Siena; and a Pilgrim at Viterbo. 

(48) (o) View of the Chartreuse near Florence. 
(6) San Lorenzo, between Florence and Rome. 

(49) Redicofani from the Posthouse, 1754. 

(50) (a) Old Fountain on the Mountains of Redicofani. 
(b) The Lake of Bolsena. 



George Keaie. 



19 



(51) (a) Decorative Title : ' Views in and about Rome.' 
(&) The Ponte Molle. 

(52) (a) Remains of Ancient Sepulchres on the Via Flaminia. 
(b) Pyramid of Caius Cestius. 

(53) (a) S. Pietro Montorio. 

(b) Ruined Sepulchre on the Tiber, near Rome. 

(54) (a) View in Rome. 
(b) View near Rome. 

(55) (a) ' A Conservatory of Water near the Porta Latina.' 
(b) Part of the Ruins of Caracalla's Baths at Rome. 

(56) (a) The Grotto Egeria near Rome. 
(6) Castel dell' Acqua Marcia. 

(57) (a) Tomb of St. Helena, Mother of Constantine. 
(b) Temfio di Dio Buono, near Rome. 

(58) (a) Remains of the Temple of Venus and Cupid, near Rome. 
(6) The Ponte Nomentana. 

(59) (a) Tomb of Scipio Africanus. 

(6) Tomb of Horatia on the Via Appia. 

(CO) Part of the Claudian Aqueduct, near Rome. 

(61) (a) Remains of a Temple near the Grotto Egeria. 
(b) Old Bridge near Rome called Ponte Salaro. 

(62) (a) Remains of a Temfle of Bacchus near Rome. 
(b) The Temple of Vesta. 

(C3) (a) Temple of the Sun, and the Meta Sudans. 

(b) A View in Rome, with the Ceremony of Giving the Cord. 

(64) (a) Ruins of the Arch of Septimus Severus and of the Temple of 

Concord. 
(fe) Ruins in the Campo Vacino. 

(65) (a) Part of the Ruins of Augustus' Palace on the Palatine Hill. 
(b) The same Ruins from the Circus Maximus. 

(66) View on the Tiber near Rome. Dated 1755. 

(67) (a) View on the Tiber near Rome. 

(b) Distant view of St. Peter's from the Tiber. 

(68) (a) View near Caprarola. 

(b) Convent of St. Teresa, near Caprarola. 
(69) (a) Ruin near Caprarola. 

(ft) Hermitage near Caprarola. 

(70) (a) View near Rome. 

(6) Floating Islands between Rome and Tivoli. 

(71) (a) Temple near Tivolt. 

(b) Part of Adrian's Villa near Tivoli. 

(72) (a) Cascades at Tivoli. 

(6) Cascades at Tivoli ; another vieav. 

C 2 



20 



Drawings of the British School. 






(73) (a) Grotta Ferrata, near Frascati. 

(b) Monument called the Tomb of the Horatii and Curiatii. 

(74) (a) View near Marino, Twelve Miles from Rome. 
(6) Ruin of an ancient Tower at Marino. 

(75) (a) Port of Anzio. Dated April, 1755. 

(b) Part of Cardinal Albani's Villa at Anzio, with Nettuno in the 
distance. 

(76) (a) Decorative Title : ' Views in and near Naples.' 
(6) View of Gaeta from Mola. 

(77) (a) Remains of Amphitheatre at the ancient Minturn^:. 
(6) The Ferry on the Garigliano. 

(78) Mount Vesuvius from the Bay of Naples. 

(79) Grotto of Posilipo at Naples. 

(80) («) Virgil's Tomb. 
(b) Lake of Avernus. 

(81) (a) Temple and Baths of Diana at Bai^:. 

(b) Temple of Venus at Bai^e. Dated Feby., 1755. 

(82) (a) Ruin at Campana. Dated 1755. 
(b) Mignano, Kingdom of Naples. 

(83) (a) Columbaria at Campana, near Pozzuoli. 
(b) Arco Felice at Cum^e. Dated Feby., 1755. 

(84) (a) Remains of the Temple of the Giant at Cumje. 
(b) Gateway of Capua. 

(85) Remains of Amphitheatre, Capua. Dated March, 1755. 

(86) (a) Ruins of Temple, Capua. 

(b) Monte Cassino. Dated March, 1755. 

(87) (a) Decorative Title : ' Views between Rome and Venice.' 
(b) Remains of Augustus' Bridge, Narni. Dated May, 1755. 

(88) Porta Spoletina, at Terni. 

(89) (a) Cascade at Tebni. 
(6) Bridge at Terni. 

(90) (a) La Madonna del Sasso, in the Apennines, near Seravalle. 

Dated May, 1755. 

(b) Remains of an old Temple near Foligno. 

(91) (a) Remains of an Arch erected to Augustus at Fano. 
(6) Triumphal Arch, Rimini. 

(92) (a) Capuchin Convent, Rimini. 

(b) Convent near Rimini, called La Coronella. Dated May, 1755. 

(93) (a) The Rotunda at Ravenna. 
(b) View in Ravenna. 

(94) (a) Convent of White Benedictines at Classe, three miles from 

Ravenna. 
(b) Torre di Vogliano, near Ravenna. 

(95) (a) Monument of Gaston de Foix, near Ravenna. 
(?;) Church of Sant' Antonio, Padua. 



George Keate. 



21 



(96) (a) View in Venice. Dated May, 1755. 
(b) Another View in Venice. 

(97) (a) Decorative title : « Views in Lombardy.' 
(b) Part of Vicenza. 

(98) (a) Brondolo upon the Adige. 

(b) Mesola on the Po. Dated May, 1755. 

(99) (a) Part of Mantua. Dated 1755. 

(6) La Vibgiliana, near Mantua. Dated June, 1755. 

(100) (a) San Vito, near Mantua. Dated June, 1755. 

(6) The Manner of Cultivating Vines in Lombardy. 

(101) (a) Colossal Statue of St. Charles Borromeo, at Lago Maggiore. 
(b) Isola Superiors in the Lago Maggiore. 

(102) (<x) Isola Madre and Pallanza. Dated Aug., 1755. 
(6) Isola Bella. 

(103) (a) Enghiera, from the Lago Maggiore. 
(&) Capuchin Convent near Turin. 

(104) (a) Decorative Title : ' Views in Savoy.' 
(6) View in the Alps. 

(105) The Manner of Passing Mont Cenis. The traveller in a chair on 

poles carried by two men. Dated August, 1755. 

(106) (a) Tremignon in Savoy. Dated August, 1755. 
(6) Valley in Savoy. 

(107) (a) St. Michael in Savoy. 

(b) St. Jean de Maurienne in Savoy. 

(108) (a) St. Felix in Savoy. 

(b) Part of the Town of Annecy. Dated August, 1755. 

(109) (a) Decorative Title: 'Views in Switzerla?-d.' 

(b) Bridge at St. Maurice over the Rh ine. Dated June, 1756. 

(110) Geneva from the Rhone. 

(111) The Lake of Geneva from the Outside of the Fortifications. 

(112) (a) Small Chapel at Morat, commemorating the battle between Charles 

the Bold and the Swiss. 
(b) View in Altdorf, Uri, from the Inn Window. Dated May, 1756. 

(113) (a) William Tell's Chapel on the Lake of Lucerne. 

(b) Different Head-Dresses worn by the Swiss Women in the Cantons 
of Lucerne and Schaffhausen. Dated 1756. 

(Ill) (a) Punishment of Riding the Wooden Ho: se, Switzerland. Dated 
1756. 

(b) Country Man of Berne. 

(c) Country Woman of Berne. 

(d) The Method of Caging little Offenders in Switzerland. 

(e) A Woman of Zurich in the ancient Habit. 
(/) A Magistrate of Zuuich. Dated 1756. 



22 



Drawings of the British School. 



(115) (a) Monument between Beene and Soleube, recording a victory of the 

Swiss and Austrians over the English in 1375. 
(&) View of a little Village between Soleube and Basle. Dated 
1756. 

(116) Paet of Schaffhausen, with Ruins of an old Beidge oveb the 
Rhine. Dated May, 1756. 

(117) Falls of the Rhine at Schaffhausen. 

(118) (a) Decobative Title: 'Views of Pola.' 
(6) View of Pola. 

(119) (a) Amphitheatee at Pola. 
(b) Funeral Arch at Pola. 

(120) (a) Ruins at Pola. 

(b) Temple of Rome and Augustus at Pola. 

(121) (a) S. Lobenzo in Istbia. 
(6) Old Aech at Tbieste. 

(122) (a) Cathedbal at Tbieste. 

(6) Decobative Tailpiece. Inscribed The Author of these Drawings, 
acknowledging the, assistance of the little implements here delineated, 
inscribes this last to their memory. 

Bequeathed by John Henderson, Esq., February, 1878. 



KEENE, Charles Samuel (b. 1823, d. 1891). Draughtsman, etcher 
and caricaturist ; born in London ; apprenticed as a wood engraver ; 
worked in London for periodicals, and about 1851 began to be 
employed on ' Punch,' for which the chief part of his life work was 
done, illustrating the daily life of the people for the latter half of the 
century, with a long series of drawings, unsurpassed for character 
and humour ; illustrated books by Charles Reade and others ; one of 
the greatest of English draughtsmen, and a consummate master of 
black-and-white. 

1. A Matbimonial Hublingham. A pigeon-shooting match, in which eligible 
bachelors are the pigeons, and young ladies shoot. Three of the latter are 
grouped at the 1., with two mothers seated in the foreground, one of them 
exclaiming in concern as her daughter makes another miss; similar groups 
behind. At the r., Cupid, hoLling the string of the trap. 

Pen-and-ink, washed with water colours, 4| x S£ in. 

Etched as frontispiece to ' Mr. Punch's Pocket Book ' for 1872. la the etching 
Cupid holds a mask of Mr. Punch's face over his own. 

2. Abt Cbiticism. An artist on a camp-stool sketching in a field ; a boy tramp 

looking over his shoulder and another looking over the top of a wall at the r. 
On the back of the mount is paste. i the artist's inscription. Art Criticism. 
First Aberdonian {from the Road) : " Fat's the mannie detin' ? " Second do. 
(who has got over the wall to inspect) : " He's draain' wi' paint." First boy : 
" Fat's he draain' ? Is't bonny 1 " Second {after a pause, critically) : " 0, na ; 
onything but bonny ! " 

Pen-and-ink; roy., 4-J X 7. 

Engraved in reverse on wood in 'Punch,' Vol. LXIIL, p. 13 (July 13, 1872). 

3. Filial Appeeciation. Scene in Hyde Park. A mother and little girl follow- 
ing the father and little boy ; over the trees in the distance appears the Duke 
of Wellington's statue. On the back of the mount is pasted the artist's 
inscription. July loth, 1871. Filial Appreciation. Little Daughter : " And wlw 



Charles Samuel Keene. 



23 



t« it a statue of, Ma ? " Mamma : " The Duke of Wellington, dear." Little 
Daughter : " And what did they make a statue of him for, and put him up there ? " 
Mamma : " 0, because he was a great man, dear, and a very good man, you 
knoto!" Little Daughter: " 0, then where will they put up a statue to dear 
Papa!!?" 

Pen-and-ink ; roy., 4|x7 in. 

Engraved in reverse on wood in 'Punch,' Vol. LXL, p. 20 (July 15, 1871). 

4. Three on one mount, roy., viz. : — 
(a) A Mixed Bag in the Lowlands; study fob a drawing. Two young 
ladies 1. questioning a gamekeeper, who stands r. touching his hat; figures 
only, without background. 
Pen-and-ink ; 4| x 7 in. 
(6) Study for the same subject. Study of the two ladies, with hedge 
behind. 
Pen-and-ink ; 4§ x GJ in. 
(c) Study for the same subject. Finished study, wilh background. Signed 
F.W., apparently indicating that the subject was suggested by Fred. 
Walker. 
Pen-and-ink; 4§ x 6$ in. 

On the back of the mount is pasted the artist's inscription. A Mixed 
Bag in the Lowlands. Young Lady : " Well, David, what has papa got 
to-alay?" Underkeeper : " Weel, no vera muckle the day, Miss. Justfower 
brace o' paitricks an' two dukes, an' a cushie duo ! " 

Engraved in reverse on wood in ' Punch,' Vol. LXIII., p. 221 (Nov. 30, 
1872). 

5. Hunting Appointments. A Colonel standing in front of the fireplace by a 
table, strewn with papers, talking to a subaltern who stands r. 

Pen-and-ink ; roy., 4J X 6£ in. 

Engraved in reverse on wood in ' Punch,' Vol. LXIV., p. 1 14 (March 15, 1873), 
with the legend : Scientific Colonel : " Are you going to the ' Kriegspiel ' to- 
morrow?" Cavalry Sub. (Hunting man): "Augh! Think not, sir. Augh! 
Meet the — are, do they ? Never heard of the place ! Wherwe on Earth is i — t ? " .' / 

6. Two on one mount, roy., viz. : — 

(a) Latest Thing in Strikes; a study. A vicar in his study receiving a 
deputation from his parishioners, who are grouped at the r. 

Pen-and-ink, touched with white, 4J x 7£ in. 

(b) The same subject. Finished study with more figures at the r. and with 

the vicar holding a petition in his hand as in the engraving, except thut 
the last figure at the r. is there changed. On the back of the mount is pasted 
the artist's inscription. " Latest thing in Strike*." A deputation of laymen 
of a suburban parish waited on their beloved I'a*tor la<t week and stipulated 
for sermons of not more than nine heads, and nine minutes long, during the 
excessive heat. 

Pen-and-ink, touched with white ; 4} x 7 in. 

Engraved in reverse on wood in ' Punch,' Vol. LXVII., p. 42 (July 25, 
1874). 
7. Manners. A parlour maid, with her back turned, talking to the cook, who 
stands, broom in hand, by the pantry door. Signed C. K. On the back of the 
mount is pasted the artist's inscription, Manners. Parlour maid (to Cook) ; I 
knowed that Mr. Smith wasn't no Gentleman, which he never raised his 'at to me 
when 1 let 'im out at the 'all door just now. 
Pen-and-ink ; roy., 7f x 6J in. 
Engraved in reverse on wood in ' Punch,' Vol. LXIX., p. 3 (July 10, 1875). 



8. " Talk of the 



Two lovers seated in the r. foreground looking out 



over sand and sea beneath and startled by a horned s ,adow appearing before 
them. On the back of the mount is pasted the artist's inscription. " Talk of 

the ." But Adolphus and Angelina, as they sat together on the beach at 

Barmouth, were not conversing about anything of the sort, and were much startled 
by the approaching spectre. They fled. After all it was only the shadow of this old 
Welshwoman, with a hayfork over her shoulder. 

Pen-and ink ; 4| x 6J in. 

Engraved. 



24 



Drawings of the British School. 



9. ' Labor ipse Voluptas.' A studio, in which a young artist is painting at an 
ease! 1., smoking and turning round to speak to a visitor, 'a rosy Philistine.' 
Inscribed on the wall at the back, Lahor ipse Voluptas (which was the motto 
to the Junior Etching Club, to which Keene belonged). 

Pen-and-ink ; roy., 4f X 6£ in. 

Engraved with the legend, Rosy Philistine : Ta-as, I discontinued smoking. 
I found I could do a perceptibly larger amount of work without it. Sallow 
Artist: Eh 1 gave up smoking for the purpose of doing more work? Well, 
that's the most extraordinary reason I ever heard ! Gad ! There's no accounting 
for tastes. 

Nos. 1-9 were purchased June, 1891, from the collection of Mrs. Edwin 
Edwards. 

10. May — British Museum Closes. A man sitting on two boxes, with a profile of 
fearful expectation, in the Egyptian Gallery of the Museum, surrounded by 
sphinxes. Signed with monogram. 

Black chalk, with pink chalk on the face, on gray paper; roy., 9£ x 6J in. 

11. Caught by the Police (Pelisse). A little woman lifted over railings by an 
elephant, whose trunk grasps her blue pelisse; she screams aud stretches out; 
her hands ; in the foreground r. the back of a man, partly seen, looking up. 

Black, blue, white, and red chalks; roy., 8| X 5? in. 
Nos. 10 and 11 were purchased June, 18. >3. 

12. The modern Babylonian Marriage Mart. A large composition. At the 1. 
Mr. Punch as auctioneer, with Cupid at a little desk in front of him, and on a 
platform running along the centre of the room a mother attending her daughter, 
for whom a lord is just making the final bid. A Jew cries, ' S'help me, gentlemen, 
the mother's worth the money !' The foreground is filled with groups of ladies 
t-eated under the platform — those at the 1. already ' sold,' tho>e at the r. and iu 
the centre discussing each other ; one is labelled I'aints in Water-colours, 
another Curate Preferred, and a third Literary; at sight of the last, a man 
arriving from the r. exclaims, ' My old Bluestocking Aunt, I declare ! ' In the 
background are a crowd of men, and on the wall a frieze representing 4 The 
Row.' Signed C. K. Inscribed below, The Modern Babylonian Marriage Mart. 
Bespectfully dedicated to E. L. Long, Esq , the Painter of the Ancient One. 

Pen-and-ink; atl, 14J x 27^ in. 

Engraved on wood by J. Swain, very greatly reduced, as frontispiece to 
'Punch's Pocket book ' for 1876. 

Purchased June, 1891, from the collection of Mrs. Edwin Edwards. 



KENNEDY, Richard (worked in the early part of the 19th century). 
Draughtsman ; biography unknown. 

1. Glastonbury. A road between old houses leading through an archway 
in a ruined building, grown with tufts of grass and saplings, beyond which 
appears the pinnacled top of a church tower ; a woman standing in the r. fore- 
ground, two men at a door 1., and other figures in the archway and beyond. 
Signed Bichd. Kennedy. 

Water colours ; roy., 11 J X 15J in. 

Purchased July, 1875. 

This di awing is in the manner of Paul Sandby Munn, though weaker in the 
figures. If Bichard Kennedy be a genuine signature, and not merely a 
collector's name, he was probably a pupil of Munn's : but no artist called 
Richard Kennedy appears to be known apait from the present drawing. 

KENNEDY, William Denholm (b. 1813, d. 1865). Painter; born at 
Dumfries ; studied in London at the Royal Academy, and exhibited 
there 1833-1865; worked for two years in Rome, 1840-42, after- 
wards in London ; painted subject pictures and landscape. 

1. A Ruined Castle. Remains of a mediaeval castle rising in a hollow beyond 
trees, with a field in the foreground. 
Water-colour sketch ; roy., 8f x 10§ in. 



William D. Kennedy. — William Kent 



25 



2. {Ob.) Study of Rocks. A low scarped cliff of rock. 

Water-colour sketch ; roy., 6J x 9^ in. 
(Rev.) Study op a Ruin. A ruined castle in Italy. 
Water-colour sketch. 

3. Castel Gandolfo. The Alban lake, -with Castel Gandolfo on the high bank 
1., and the Campagna bejoud, in purple evening light. 

Water-colovir sketch ; roy., 18 x 7^ in. 

4. Ruins of a Temple. Columns and entablature at the end of a temple. 

Water-colour sketch ; roy., 10 X 1\ in. 

5. Court of an Italian House. With a vine by the wall. 

Water-colour sketch ; roy., lOg X 8 in. 

6. Rainy Day at Bai^e. View on the bay of Naples, with the sea 1., a castle on 
a green hill at some distance r., mountains in the distance, and a boat, partly 
seen, on the water. 

Water-colour sketch ; roy., 5£ x 6| in. 
All purchased October, 1879. 



KENT, William (b. 1684, d. 1748). Painter, sculptor and architect; 
born in Yorkshire ; came young to London and went to Rome with 
J. Talman ; brought back to England about 1716 by Lord 
Burlington, through whom he gained much vogue as a painter of 
decorated ceilings and portraits, in both of which styles he was 
beneath mediocrity ; now remembered only as a skilful architect ; 
assisted Lord Burlington in his designs, and with him published 
' The Designs of Inigo Jones,' 1727; built the Horse Guards, 
Devonshire House, Holkam, and other houses. 

1. Design for Decoration op a Ceiling. In the centre a panel with a painting 

of a young warrior being armed by his esquires ; above, two boy genii resting 
on each, side of a pediment ; r. and 1., two satyrs. 

Pen-and-ink, with water-colour wash; roy., 11 \ x 17^ in. 

Presented by John Henderson, Esq., January, 1863. 

2. Design fob a Monument to Queen Anne and Prince George of Denmark. 

Design for a marble mural monument. In the centre, statues of the Queen and 
Prince on a single pedestal ; above them a canopy with curtains held up by two 
angels blowing trumpets and disclosing cherubs hovering in clouds, with crown 
and palm. At each side are two pairs of pillars supporting entablatures with 
reliefs of St. George and the Dragon and the Garter, and with lion and unicorn 
and trophies of arms above ; on pedestals in front of the pillars are statu s of 
Hope and Justice 1., Truth and Charity r., and under the pedestal of the central 
statues is a group of three female figures, with two crowns and sceptres on a 
cushion between them. 

Pen-and-ink, washed with Indian ink and yellow, and some red ; roy., 
1G£ x 12J in. 

3. Design for Altar-decoration, Hampton Court Chapel. Two alternative 
plans and elevations of the east end of the chapel, decorated witli pillars 
supporting an arch, with garlands of fruit and flowers and an arched panel 
between the pillars and over the altar; in the'l. half the design has two pillars; 
in the r. half the alternative and simpler design has only one pillar and no 
garland. Below is the plan, inscribed Hampton Court Chappel and dated Dec'- 5, 
1710. 

Pen-and-ink, with Indian-ink shading, and water colour on tho altar; roy., 
11* X 7f in. 

Nos. 2 and 3 were purchased June, 1881, at the Bull sale. 



26 



Drawings of the British School. 



Attributed to William Kent. 

Statue of Prince Eugene of Savoy, in Carlton House Gardens; Profile 
view. 

Indian-ink wash and pen; 10 J x 6£ in. 
The same Statoe; Front view. 

Indian-ink wash and pen ; 10J x 6J in. 

No. 78 in Portfolio XI. of the Grace Collection of London Views, purchased 
November, 1880. 



KERRICH, Eev. Thomas (b. 1747, d. 1828). Painter, etcher and 
antiquarian ; educated at Magdalene College, Cambridge ; travelled 
for some years from 1771 on the Continent drawing and studying old 
monuments ; elected Librarian of Cambridge University, 1797. 
Kerrich's large collections illustrating ancient costumes are now in 
the MSS. department of the Museum. 

1. Portrait of Rev. William Cole. Bust, turned to front, head in three- 

quarter face turned 1. and looking 1., wearing wig and gown. 

Black and red chalks; roy., 17f X 11$ in. 

Engraved by Facius in stipple, and published May 10, 1809. 

"William Cole, antiquary, b. 1714, was educated at Eton and Cambridge ; a 
life-long friend of Horace Walpole, with whom he travelled in France ; elected 
F.S.A. 1747; published no separate work, but supplied valuable materials to 
many authors, and left nearly a hundred volumes of MSS. containing collections 
for the history of Cambridgeshire and other antiquarian material, to the British 
Museum ; d. 1782. 

2. Statue at Crotland Abbey. A mutilated female 6tatue, without arms or 

head. Inscribed A most beautiful statue of a woman on the front of the Abby 
Church of Croyland. N.B. I[t] seems of the aye of St. Lewis. Signed and 
dated T. Kerrick del. Sept. 11"4, 1793. 

Pencil; roy., 11J X 4| in. 

Both acquired before 1837. 



KEYL, Frederick William (b. 1823, d. 1873). Animal painter; born 
at Frankfort ; pupil in Brussels of Eugene Verboeokhoven ; came to 
London 1845 to study under Landseer ; exhibited at the Royal 
Academy and British Institution 1847-72. 

1. Sheep at Pasture. Scattered sheep lying down or feeding in a field sloping 

away to a group of trees and a farmhouse r. 
Black chalk ; roy., 8| x 12§ in. 
Purchased July, 1874. 

2. A Flock of Sheep. A flock of sheep resting on a grassy slope, up which a path 
goes r. to a wood above. 

Pencil on yellowish paper, heightened with white ; roy., 5 x 7f in. 

3. Studies of a Pug Dog. Three studies of a pug dog, two lying down, one sitting ; 

with a slight outline study above. 
Pencil, roy., (j£ x of in. 

4. Sheep in a Field. Sheep and lambs lying in a heathy field with fence 1. ; 

towards the 1., a ewe calling to its young. 
Black chalk, with touches in coloured chalks ; imp , 8| X 19| in. 
Nos. 2-4 were purchased August, 1875. 



/. J. Kirhj. — 8. Kirhj. — T. Kirk. — W~B. Kirwan—G. Knapton. 27 

KIRBY, John Joshua (b. 1716, d. 1774). Painter and writer on 
perspective; born in Suffolk ; house-painter at Ipswich about 1738; 
painted landscapes and drew the antiquities of Suffolk ; published a 
well-known book on perspective, 1754, illustrated by himself; came 
to London and was made clerk of the works at Kew Palace ; a close 
friend of Hogarth and of Gainsborough. 

1. View of St. Alban's Abbey. View of the abbey from the S.E., with the old 
gatehouse 1. The tower has a spire, now removed. Two figures in the fore- 
ground. Signed with monogram and dated 1767. 

Indian-ink wash, and pen with very slight water-colour tint ; imp., 13J x 
22 in. 

Purchased December, 1867. 

jKIRBY, Stephen (worked about 1730). Amateur draughtsman; 
biography unknown. 

1. Portrait of a Gentleman. Half length in an oval, turned to r., the face in 
three-quarters turned r., eyes looking full ; wearing cap, collar loose, and coat 
unbuttoned. Signed Ste. Kirby Delin. being ye 2nd Drawing he ever made. 

Indian ink on vellum ; roy., 11 J X 9§ in. 

Purchased June, 1880. 

KIRK, Thomas (b. 1777, d. 1845). Sculptor ; born at Newry, co. Down; 
studied at the Dublin Society of Artists ; foundation member, 1822, 
of the Royal Hibernian Academy ; executed a number of statues and 
busts in Dublin and Limerick ; best known by his statue of Sir 
Sidney Smith in Greenwich Hospital. 

1. Adam and Eve. Adam and Eve sitting 1. upon a bank beneath a tree; Adam 
pointing to an angel, who approaches from the background r. 
Red chalk ; roy., 9J X 7| in. 

2 Nymph and Ccpid. A nymph seated on a bank under a tree, and talking to 
Cupid, who stands by her knee ; a dog lying 1. beneath the bank. 
Ked chalk ; roy., 9£ X 7| in. 
Both presented by J. Deffett Francis, Esq., January, 1874. 

KIRWAN, William Burke (worked about 1850). Painter and 
physician ; worked in Dublin ; tried and found guilty of murdering 
his wife by drowning, but the sentence was remitted. 

1. The Bog Trotter. An old man with a stick and a bundle over his shoulder 
trudging from the 1. over an Irish moor with his dog, which stops to drink at a 
stream running across the foreground ; a cabin 1., and an evening sky. 
Water colours, over pencil ; roy., 10| x 8J in. 
Purchased May, 1890, at the Percy sale. 

KNAPTON, George (b. 1698, d. 1778). Portrait painter ; born in 
London ; pupil of Jonathan Richardson ; studied in Italy, where he 
visited and wrote an account of Herculaneum ; paintei to the 
Dilettanti Society, to which he was elected on its foundation, his 
portraits of the members being among his principal works. 

1 . Portrait of John, first Duke of Marlborough ; after Kneller. Bust, iu 
three-quarter face turned r. and looking r., wig, and fur-lined cloak over 
armour. In an oval. 
Oil colours on paper ; roy., 7 X 6 in. 



28 



Drawings of the British School. 



2. Portrait of Sarah, Duchess of Marlborough. Bust in three-quarter face 
turned 1., eyes looking full ; low dress. In an oval. 

Oil colours on paper; roy., 7 X CJ in. 

Tbese copies from Kneller's portraits were made by Knapton for Houbrakeu 
to engrave. Ornamental frame designs were added by Gravelot (see Vol. II., 
p. 243, where four such designs are described). The engravings were made for 
Dr. Birch's ' Lives,' published by John and Paul Knapton, brothers of the 
artist. 

Bequeathed by the Rev. C. M. Cracherode, 1799. 



KNELLER, Sir Godfrey (b. 1646, d. 1723). Painter; originally 
named Gottfried Kniller ; born at Liibeck ; pupil of F. Bol in 
Amsterdam; studied in Italy, 1672; came to England, 1675, 
obtained the patronage of Charles II., and remained in high favour 
•with his successors on the throne, especially with George I. ; painted 
an enormous series of portraits, able but monotonous in style, including 
the well-known sets of Hampton Court ' Beauties ' and ' Admirals,' 
and the Kit-Cat Club (engraved by Faber) ; left five hundred 
portraits at his death to be finished by his pupil Byng (q. v.). 

1. Study for Portrait of John Churchill, first Duke of Marlborough. 
Head in full wig, turned I. in three-quarter face, and looking 1. 

Bed, black, and white chalks on greenish-gray paper ; roy., 14| X 9J in. 
Study for the portrait engraved in mezzotint by J. Smith. 

2. Ob. Study for Portrait of Sarah, Duchess of Marlborough. Head in 
lull face, turned a little 1., eyes looking slightly r., hair falling on the neck. 

Black and white chalks on brown paper; roy., 15g x 11& in. 
Rev. Portrait Study of a Lady. Half length of a lady wearing a cap, tied 
under her chin ; in full face. 

Black and white chalk on brown paper. 

3.^Study for Portrait of Admiral George Churchill. Head in full face, 
looking full, wearing wig. 

Red, blade, and white chalks on greenish-gray paper ; roy., 15 X lOf in. 

George Churchill, younger brother of the Duke of Marlborough, b. 1654, 
served in the navy during the Dutch wars of James II., left the service in 1693, 
but became admiral on the accession of Anne. His activity was divided between 
amassing a fortuue and neglecting the navy ; he became equally rich and 
unpopular, retired 1708, and died 1710. 

4. Study for Portrait of Anne, Countess of Sunderland. Head in full face, 
turned slightly 1., eyes looking full. 

Red, black, and white chalks on brown paper; roy., 15 X 9^ in. 
Anne Churchill, Marlborough's Ihird daughter, b. 1683, married 1700 to 
Charles Spencer, third Earl of Sunderland ; d. 1716. 

5. Study fob Portrait of a toung Man, perhaps William, Duke of 
Gloucester. Head in full face, turned slightly r., eyes looking full. 

Red, black, and white chalks on bluish paper; roy., 12g x 10 in. 

The lace in this portrait corresponds closely in feature to Kneller's portrait of 
Queen Anne's only son, who died in 1700, but the want of decisive character in 
the artist's works forbids a certain identification. 

Nos. 1-5 were purchased July, 1860. 

6. Ob. Study for Portrait of a Lady. Head in full face, turned slightly 1., 
eyes full, the hair falling in ringlets on either cide of the face, pearls in the ears 
and in the hair. 

Red, black, and white chalks on brown paper ; roy., 15J x 10^ in. 
Rev. Study of a Head. A female head, inclined 1., with eyes looking down ; 
apparently from a statue or picture. 

Black and white chalk on brown paper. 



Sir Godfrey Kneller. 



29 



7. Ob. Study for Portrait of a Girl. Head of a young girl in full face, with 
short curly hair. 

Bed, black, and white chalks on brown paper ; roy., 14| x 9| in. 
Rev. Study for Portrait of a Lady. Head in profile looking r. 
Ped and black chalk and stump. 
Nos. 6-7 were purchased October, 1870. 

8. Study for Portrait of Two Gentlemen. Half-length figures, standing beside 
each other; the one at the 1., looking full, holds his friend's hand in his own, 
while the other, looking towards him, holds up a cup in his r. baud. 

Black chalk on greenish-gray paper ; imp., 15 X 20J in. 
Purchased before 1837. 

9. Study for Portrait of Queen Anne. Whole L ngth, seated on a throne with 
two boy genii carved on the hack of it, facing to front, the head turned a little 
]., eyes full ; 1. hand holding the hall, which rests on her knee. 

Pen-and-ink, partly washed with Indian ink ; roy., 12f x 8 in. 

10. Study for Portrait of Charles Fitzroy, Duke of Grafton. Full half 
length, turned to front and r., the face nearly full, wearing cap, and with collar 
open ; r. hand on breast. 

Indian ink, over black chalk on blue paper; roy., 10J X 7| in. 

Study for the portrait painted in the Kit-Cat Club series, engraved in 
mezzotint by Faber. 

Charles Fitzroy, b. 1683, succeeded his father (a natural son of Charles II.) 
as second Duke "of Grafton, 1690; was Lord Lieutenant of Ireland, 1720-24; 
d. 1749. 

11. Study for Portrait of a Man. Half length, turned r., the face in three- 
quarters turned r., and looking full ; collar open, cap on head. 

Black and white chalk on blue paper ; roy., 11 X 8| in. 



12. Portrait study of a Young Lady. 
and looking 1. Signed G. K. 

Black chalk on blue paper ; roy., 10J X 



Head turned I., in three-quarter face 
in. (irregularly cut). 



13. Study for Portrait of a Young Man. Three-quarter length, turned 1., the 
face in three-quarters turned 1., but looking full ; wearing full wig. 

Black and white chalk on blue paper; roy., 14| X lOf in. 

14. Portrait of Alexander Pope. Head in profile looking I., wearing a wreath 
of ivy. 

Black chalk on buff paper, heightened with white ; imp., 18£ X 14| in. 
Study for the portrait painted by Kneller in 1721 and engraved in mezzotint 
by Faber in 1738. 

15. Portrait studies of a Negro Boy. Two studies of a negro servant boy 
looking up to the r. and pointing with his hand 1. 

Black chalk on blue paper, heightened with white ; roy., 11 X 8| in. 

16. Three Heads of Children. All facing to front. 

Black and red chalks on oiled paper ; roy., 6| X 9J in. 

17. Design for Kneller's Monument in Westminster Abbey. The bust of the 
painter with a Cupid on each side, one of them leaning on a medallion portrait; 
above, a canopy ; below, a tablet for inscription. 

Black chalk sketch ; roy., 18£ X 13 in. 

Kneller intended his monument to be placed in Twickenham Church, but 
difficulties arising, he left directions in his will for it to be set up in Westminster 
Abbey. It was executed by Bysbrack. 

[18-25] Miscellaneous studies. 

18. Academical study. Nude study of a man seated towards the 1. looking up r. 

Signed G. K. 

Black chalk on blue paper, heightened with white; roy., 11 \ x 11 hi. 



30 



Drawings of the British School. 



19. Studies of Hands. Two studies of arms and two (slight) studies of hands. 
Eed and black chalk on blue paper, heightened with white; roy. 10J x 15J in. 

20. A Doe. Seen in profile, facing 1. Signed G. K. 

Chalks on drab paper ; roy., 12| x 10 in. 

21. A Greyhound. With head looking up r. Signed G. K. 

Black chalk on blue paper; roy., 11| x 8£in. 

22. Studies of a Hoese. Two studies of a horse's head, and one of a horse's leg." \ 

Black chalk on blue paper, heightened with white ; roy., llf x 8f in. 

23. A Hog. A hog facing 1. Signed G. K. ft. 

Black chalk on blue paper ; roy., 8 x 10£ in. 

24. Two on one mount, roy., viz. : — 

(a) Portrait of Henry the Pious, Duke of Saxony; after a Woodcut. 

Half length, in chain mail, holding a sword. Signed Gottfride Knitter, 
Anno 16 n. g (i. e. nach geburt). 

Copied from a woodcut in 'Icones Principum Saxonise,' 1597. 

Pen-and-ink ; 8 X 6 in. 

(b) Three Figure Studies. Three slight studies of a naked warrior with a 

spear. Signed G. K. 
Pen-and-ink ; 5| X 7J in. 
Nos. 9-24 were purchased July, 1888. 

25. Study from a Statue of Diana. Diana with a stag, which she holds back by 
the horns. Inscribed G. Kneller, desinye'a Verlalie [Versailles ?] apres La Statue 
dan La Gallerie du Roy. 

Red and black chalk ; roy., 12 X 7| in. 
Purchased August, 1874. 

KNIGHT, Mary Anne (b. 1771, d. 1851). Miniature painter; pupil of 
Andrew Plimer; exhibited at the Royal Academy 1807-1831. 

1. Portrait of Prince Hoare ; after Lawrence. Head and shoulders, in three- 
quarter face turned r. looking r. ; wearing coat with fur collar. Inscribed 
Prince Hoare, Esq. Miss M. A. Knight. 

Chalks and water colour stipple, touched with white ; roy., 9J X 7J in. 

Lawrence's original unfinished oil portrait was engraved in mezzotint by 
Charles Turner, 1831. For an earlier portrait of Hoare (b. 1755, d. 1834) 
by G. Dance, see Vol. II., p. 4. 

Presented by Miss Carpenter, April, 1893. 

KNIGHT, W. (worked about 1807-1845). Architectural draughtsman ; 
worked in London ; exhibited at the Royal Academy, 1807-1845. 

1. Elevation and Ground Plan of the new London Bridge. 
Indian ink ; lOf X 24£ in. 

No. 60 in Portfolio VII. of the Crace Collection of London V.'ews, purchased 
November, 1880. 



LANCE, George (b. 1802, d. 1864). Painter ; born near Dunmow; pupil 
of Haydon and student at the Royal Academy ; painted historical 
and genre subjects, but best known by his flower and fruit pieces ; 
worked in London. 

1. Portrait of the Artist. Head of the artist as a young man in full face, and 
looking full. 

Water colours ; roy., 4J x 3J in. 
Purchased October, 18J-5. 



Charles Landseer. — Sir Edwin Henry Landseer. 



31 



LANDSEER, Charles, R.A. (b. 1799, d. 1879). Painter; son of John 
Landseer, the engraver ; pupil of Haydon, and student at the Royal 
Academy ; elected A.R.A. 1837, R.A. 1845 ; well known by his 
' Sacking of Basing House ' and other historical pictures. 

1. Chapel op Arundel Church. View in the church with chancel r. and chapel 
seen beyond two arches with a stone screen across them, interrupted by a tomb 
on which is a knight in effigy. 

Black chalk, with water colours and body colours on brownish paper ; imp., 
15| X 21i i n< 

Formerly in the collection of Dr. Percy, who made the following note on it in 
his MS. catalogue (now in the department) : ' Made when we were there [at 
Arundel] together. Introduced in a picture by C. L. — Scene with Waller in 
the Cromwellian Times. Sold at C. L.'s sale.' 

Purchased May, 1890, at the Percy sale. 



LANDSEER, Sir Edwin Henry, R.A. (b. 1802, d 
and etcher ; youngest son of John Landseer ; 
precocity of gift ; exhibited at the Royal Academy 
there from 1816 ; painted portraits, but far more 
paintings of dogs and lions, and after his first visit 
for his pictures of red deer in the Highlands ; he 
popular artist of his time, and his works were 
elected A.R.A. 1826, R.A. 1831 ; knighted 1850. 



1873). Painter 
distinguished by 

1815, and studied 
celebrated for his 

to Scotland, 1824, 
became the most 
much engraved ; 



1. Two on one mount, roy., viz. : — 

(a) Portrait Study of John Landseer. Head and shoulders, nearly in full 
face, reading a paper held in front of him ; wearing spectacles. Signed 
E. L. 

Pencil ; 5 X 4f in. 

John Landseer, b. 1769, pupil of William Byrne; well known as an 
engraver, wrote on Archaeology and other subjects; father of Thomas, 
Charles, and Edwin Landseer ; died 1852. 

(b) Portrait Study op Mrs Mackenzie. Three-quarter length, seated on a 

chair, turned to 1., face looking down ; open book on lap, and hands clasped. 
Water colours ; 5£ X 4 1 in. 
Emma, the youDgest daughter of John Landseer. 

2. Study of a Sailor. A sailor in oilskin dress leaning on a pole. 

Black chalk on warm gray paper, heightened with white ; roy., 14$ X 8| in. 
Nob. 1 and 2 were purchased October, 1885. 

3. Sketch from the Equestrian Portrait of Olivarez by Velasquez. Appar- 

ently a sketch from memory, as the proportions and details are inaccurate. The 
original picture is in the Prado, Madrid ; but this is probably a reminiscence of 
the version in the Earl of Elgin's Collection. 
Pen-and-ink ; roy., 10£ X 8 in. 

4. Study of Deer. A stag, with two deer behind. 
Pen-and-ink sketch ; roy., 7 X 8§ in. 

5. Study of Deer. Three stags standing together on a moor, with two deer near 

them and a third coming up from the r. 
Pen-and-ink sketch ; roy., 8£ x 13£ in. 
Nos. 3-5 were purchased May, 1896. 

6. Studies of Leopard and Tiger. A leopard lying down, foreshortened ; head 
and shoulders of a tiger r. ; two outline sketches of a lion 1, 

Black and white chalk on gray paper ; imp., 5£ X 17J in. 

7. Studies of Lion and Lioness. Slight studies of a lion and lioness lying down. 

Black chalk on gray paper ; imp., 15£ x 17J in. 
Nos. 6 and 7 were purchased September, 1886. 



32 



Drawings of the British School. 



Study of a Pomeranian Dog. Lying clown, ■with head to the r. Signed E. L. 
Inscribed on the back, Lady Rancliffe's Swedish Dog. Sketch from nature by 
Jidwin Landseer. Joseph Crawhall, 1861. 

White and black chalk on brown prepared paper ; roy., 7§ X 9§ in. 

Purchased April, 1901. 



LANDSEER, Thomas, A.R.A. (b. 1795, d. 1880). Engraver and 
draughtsman ; eldest son of John Landseer ; born in London ; pupil 
of his father and of B. R. Haydon ; produced some books of original 
etchings, but best known by his numerous prints after his brother 
Edwin; elected A.R.A. 1868. 

1. Two on one mount, roy., viz. : — 

(a) Two Studies of a Hand. 
Black chalk; 11 x 8| in. 

(6) Study of a Foot. 

Black chalk; 10 X 7| in. 

Similar studies, after Haydon, were etched by Thomas Landseer, and 
published 1817 by John Landseer as ' Haydon's Drawing Book.' 
Presented by J. Deffett Francis, Esq., January, 1885. 

2. Old Mill, Lynton. An old water-mill in a hollow, with trees about it and 
stream 1. 

Water-colour and body-colour sketch on gray paper ; roy., 9§ X 13f io. 
Purchased May, 1890, at the Percy sale. 

3. Drawings fob 'Monkey-ana,' a series of original etchings by the artist, 
published without text, 1827-8. 

(1) Design for Title. A satyr and a monkey, the former writing on a stone 
the title, Monliey-ana ; or, Men in Miniature, etc. Signed T. Landseer. 

Pencil. 

(2) ' I Hope I don't Intrude ' : Design for Plate ii. A monkey entering a 
room. 

Pencil and Indian ink touched with white. 

(3) ' News from Navarino ' : Study fob Plate ni. A monkey reading the 
• Times.' 

Pen-and-ink. 

Modified in the etching. 

(4) ' Phlebotomy ' : Design for Plate iv. A monkey as schoolmaster about 
to birch a pupil. 

Pencil. 

(5) ' Incredulity ' : Design for Plate vi. A monkey making a jeering 
gesture. 

Pencil. 
(G) ' Wapping, or the Pas de Deux ' : Design for Plate vn. Two monkeys 
as eailur and sweetheart dancing. 
Pencil. 

(7) ' The Crisis, or the Point of Honour ' : Design for Plate viii. A 
duel between monkevs. 

Pencil. 

(8) ' The Sunshine of the Soul ' : Design for Plate ix. Two monkeys 
drunk. 

Pencil. 

(9) 'The Fortune Teller'; Study for Plate x. 

Pencil. 
(10) ' Castigation ' : Study fob Plate xi. A monkey as beadle driving 
urchins out of church. 
Pencil. 



Thomas Landseer. — Theodore Lane. 



33 



(11) ' Distressed Poet, or Three Weeks in Arrears' : Study for Plate xrv. 
A monkey as starveling poet in a garret, presented with Ids bill for rent. 

Pencil. 

(12) ' A Queer One to look at and a Rum One to go ' ; Study for Plate 
xv. A monkey driving a dog in a cart. 

Pencil. 

(13) ' Advanced Guard in Retreat ' ; Study for Plate xvii. Monkey- 
soldiers fleeing before a monkey dressed as a ghost. 

Pencil. 

(14) • C'est L' Amour ' ; Design for Plate xviii. A monkey -cupid. 

Pencil. 

(15) 'Billingsgate'; Design for Plate xxiii. Two monkeys as scolding 
fishwives. 

Pencil. 

(16) The Unfavourable Impression ; Study for Plate xxiv. A monkey as 
chimney-sweep jeering at an elderly belle. 

Pencil. 

(17) 'The Widow'; Design for Plate xxv. A monkey mourning over her 
mate. 

Pencil. 

(18) Sketch for a Design not used. A monkey's head in cocked hat, etc. 

Pencil. 

Purchased March, 1867. 



LANE, Theodore (b. 1800, d. 1828). Painter; pupil of J. Barrow; 
painted water colours and miniatures, but is best known as a 
humorous artist ; etched prints of sporting and social subjects, and 
during the last three years of his life exhibited pictures with success ; 
died of an accident. 

1. Bond Street Loungers. The pavement of New Bond Street, with another 
street coming into it 1. ; groups of fashionably dressed people on the pavement 
smiling at the misfortune of a dandy in blue who has just been splashed with 
mud by a man riding in the kennel. 

Water colours, with pen and ink outlines ; roy., 4| x 7 in. 
Purchased November, 1861. 

2. Field Preaching. A rainy day on a common near an inn ; the preacher stands 
on a chair with an umbrella held over him by his servant behind and addresses a 
little congregation, consisting of an old man with an umbrella and an old woman 
with a market basket, a page and two yokels ; a dog is filching from the basket. 
Signed Theodore Lane. 

Water colours with pen-and-ink outlines ; roy., 4 x 51 in. 

3. Dressing for a Play. The stage of a country theatre, on which the actors aro 
in various stages of getting ready and are thrown into further confusion by a 
practical joker at the 1. who pulls the curtain half way up and reveals them to 
a grinning audience. A tall man in the centre, pulling on tights, cries out in 
consternation and nearly falls down a trap from which an old man is emerging ; 
other actors and actresses r. and 1. are rehearsing their parts, making up or 
dressing, and a carpenter falling with his ladder from the wings. 

Indian ink with pen outlines ; roy., 4 \ x 1\ in. 
Etched by the artist. 

4. • Wherry Funky Meeting at the Red House, Battersea.' Two boats (a 
' wherry ' and a ' funny ') crashing into each other off the Red House, each boat 
filled with bewildered men and shrieking women. Signed Theodore Lana, and 
inscribed with the above title. 

Pencil and slight Indian-ink wash ; roy., 8| X 12J in. 
Etched by the artist. 

VOL. III. D 



34 



Drawings of the British School. 



5. Two on one mouut, roy., viz. : — 

(a) 'Jackson's Hopping Match on Clapham Common.' Jackson hopping in 
a clear space surrounded by spectators, including some boys who have 
climbed a tree 1. and one of whom is falling on the crowd below. 
Pencil ; 4 x 7£ in. 

(V) Bull-Baiting. A bull tied to a ring and lowering his head at two dogs 
let loose by two men at the r. ; others among the ring of spectators are 
catching a dog which has just been tossed, and two men at the 1. are trying 
to make another dog take his teeth from a neighbour's calf. 

Pencil ;3}x7 in. 

Nos. 2-5 were purchased December, 1868. 

LANSDOWN, J. (worked about 1817-1855). Draughtsman ; exhibited 
architectural drawings at the Royal Academy, 1817-1828. 

1. Elevation of Beau Nash's First Besidence in Bath, St. John's Court. 
A large square three-storeyed house, seen from one of the angles ; two men and 
two women in eighteenth century costume standing near it. Signed and dated 
Lansdown delt., 1855. 

Indian-ink wash and pen ; roy., 10 X 13J in. 

Purchased August, 1861. 

LAPORTE, John (b. 1761, d. 1839). Water-colour painter; well known 
as a successful drawing master ; taught Dr. Monro ; published 
several books on drawing, and published with W. F. Wells a set of 
etchings after landscape studies by Gainsborough (in the depart- 
ment) ; worked in London. 

1. Forest Scene. A forest glade, with a pool in the foreground and] stags under 
a tree 1. Signed J. L. 

Pencil ; roy., 4£ x 12 in. 
Purchased August, 1853. 

2. Grasmere. View on the shores of the lake looking across to the village and 
fells beyond ; on the lake a ferry boat with cattle. 

Body colours ; roy., 8| X 12 in. 

Presented by John Henderson, Esq., January, 1863. 

3. Album containing 47 slight pencil sketches of scenes in the Lake District and 
the Peak, dated 1790, including views of Windermere, Rydal Water, Ullswater, 
Derwentwater and Lodore, Ambleside, Grasmere, Patterdale, Coniston, 
Borrowdale, Aire Force, Thirlmere, Gobarrow Pork, Newlands Valley ; and 
views in pencil and black chalk, dated 1812 and 1813, of the Lakes of Killarney. 

4. Album containing 60 slight pencil sketches of scenes in Wales and England, 
including views of Conway Castle, Ehayader on the Wye, Briton Ferry, the 
Rheidol, Devil's Bridge, Aberdillas, Cardiff, Corwen, Melincourt, Hafod Fall ; 
Llanrwst, Pont Neath, Bwamaen, Aberedow, Builth Bridge, Bridge on the 
Taff, Swansea, Neath Valley, Vale of Llangollen, Bristol, Chepstow, Piercefield, 
Goodrich, Monmouth, Symonds Yat, Ross, Gloucester, Lodore Fall, Patterdale, 
Bowder Stone in Borrowdale, Chapel at Manston Court (Isle of Thanet), 
Arundel, and Minster in Kent. 

Nos. 3 and 4 were purchased August, 1899. 



LAROON, or LAURON, Marcellus, the elder (b. 1653, d. 1702). 
Painter and engraver ; born at the Hague ; came young to England 
and lived many years in Yorkshire ; painted small portraits, 
conversation pieces, free and humorous subjects, some of which he 
etched and engraved himself ; painted draperies for Kneller ; best 
known by his ' Cryes of London,' engraved by Tempest. 



M. Laroon (the elder). — M. Laroon (the younger). 35 

[1-8.] Characters of Italian comedy. 

1. Scaramouche. He is dressed in black, with cap and cloak, carries a guilar, and 
moves towards the 1. with head turned r., uttering an exclamation. 

Indian ink and water colours, with pen outlines (pencil background) ; roy., 
10£ X 7| in. 

2. Mezzetino. He stands with head turned as if addressing some one r., dressed 

in a costume striped red and white, with green stockings. 

Indian ink and water colours, with pen outlines (pencil background) ; roy., 
10§ x 7| in. 

3. Pantalone. He stands facing 1., smiling, wearing cap with feather and short 
cloak ; in the background a garden terrace and yew lodge. 

Indian ink, with pen outlines ; roy., 10£ x 7| in. 

4. A Fool. He stands on a terrace with hands clasped before him, dressed in 

fool's cap and feathers and ribboned costume hung with bells. 

Indian ink, with water colours and pen outlines ; roy., 10J x 7| in. 

5. Another Character. He dances with hands spread out, and laughing; he 
wears a blue and red costume, with slashed sleeves ai.d trunks, green waistcoat 
and stockings, a background of river, trees and houses. 

Indian ink, and water colours, with pen outlines ; roy., 10J x 7 in. 

6. Another Character. He dances with one hand lifted to his hat brim, the 
other on his hip; he wears a red dress, trimmed with yellow, short skirt, striped 
green and white, blue cloak lined with yellow ; in the background a road and a 
building. 

Indian ink and water colours, with pen outlines; roy., 10| X 7| in. 

7. Another Character. He dances, holding his hat in one hand ; his costume ia 
striped green and red, with rid stockings ; in the background the entrance to a 
town. 

Indian ink and water colours, with pen outlines ; roy., 10J x 7£ in. 

8. The Marionette Showman. He stands in front of his show holding a little 
wand in one hand and pointing to it with the other ; he wears a striped white 
and buff costume, with red cloak, and has a largo wallet at his waist. 

Indian ink and water colours, with pen outlines ; roy., 10f x 7J in. 
Nos. 1-8 were purchased February, 1852. 

9. Illustration to a Book on Fencing. Two men fencing with rapier and 
dagger, one parrying the other's attack in tierce. The wig of the man at the 
r. lies on the floor between Ihem. (The drawing having been made for engrav- 
ing, the direction is reversed and the daggers appear in the right hand of the 
fencers instead of the left). 

Pencil and sepia wash; roy., 7 X 11| in. 
EDgraved in a book on fencing, which is very rare. 
Purchased July, 1874, at the Bull sale. 

IjAROON, Marcellus, the younger (b. 1679, d. 1772). Painter, and 
captain in the army ; second son of the preceding ; born in London ; 
pupil of his father ; travelled on embassies as a page, but resumed 
painting on his return, though for two years he acted and sang at 
Drury Lane ; joined the footguards under Marlborough, 1707, fought 
in Flanders and Spain ; retired as Captain, 1732 ; drew conversations, 
concerts, etc., somewhat in the style of his friend Hogarth. 

1 . Illustration to a Story. A woodman 1. chopping wood on a block by the 
road side, directing a lady and gentleman who approach at the r. ; bordering 
the road 1. is a paling with trees on a knoll, where a girl on a ladder is gather- 
ing fruit and a boy holding a basket underneath. Signed on a margin below 
Mar: Laroon. F. 1748. 
Indian-ink wash and pen ; roy., 9x6^ in. 
Purchased June, 1857. 

D 2 



36 



Drawings of the British School. 



2. Portrait Studies of John Eolles. Study of a head in profile turned 1. and 

looking 1. ; below, study of the same person with head leant on his hand, 
smiling and looking down 1. Inscribed at the top Mr Bolus [sic] his Majestys 
Engraver of y e broad S?al. 1718. 

Pencil ; roy., 12J X 7£ in. 

John Rolles, medallist, was chief engraver to the Mint in George II.'s reign, 
and died 1743. The inscription on this drawing supplies a new fact to his 
biography. 

Purchased July, 1876. 

3. Scene in a Garden. Scene on a garden terrace : two ladies standing 1. near a 

tree, one of them laying her hand on the arm of a gentleman who is about to 
take a pinch of snuff. Probably an illustration to a play. Signed and dated 
Mar. Laroon F. 1752 (?). The signature and date have been gone over by a 
later hand and the date made to look like 1702 ; which the costume makes 
impossible. The year must be either 1732 or 1752, probably the latter. 

Pencil ; roy., 16J x llf in. 

Purchased June, 1881. 

4. A Concert at Montagu House, 1736. The corner of a drawing room with a 
window at the side r., and a door in the facing wall 1. By the window is a 
harpsichord, at which a man with full wig and spectacles is playing, and round 
him are grouped a singer and a violin player standing, and a violoncello player 
seated. Behind the last are two girls, whom their mother, seated 1., is pointing 
out to a gentleman seated beside her ; standing also at the 1. near the door are a 
gentleman (the Duke of Montagu) and his daughter (Lady Cardigan); and 
between them and the group of musicians are a short, stout man and a servant 
holding a music book. In the foreground, r. stand a gentleman with his back 
turned ; at the 1., a violoncello lies resting on a stool. At the back of the room 
r. a servant is taking down a viol da gamba from a hook on the wall. Signed 
and dated Marcellus Laroon Fecit 1736. 

Indian-ink wash and pen, over pencil ; imp., 18 X 13J in. 

On the same mount is a note by Horace Walpole, A Concert, by Captain 
Laroon, The gentleman on the left under the door is John 2nd Duke of Montagu, 
the lady standing by him is his 2nd daughter Mary Countess of Cardigan after- 
wards Duchess of Montagu. H. W. The harpsichord player is in all 
probability John James Heidegger, well known for his management of the opera 
with Handel, and for his incomparable ugliness. From 1734 to 1757 his tenure 
of the Haymarket was interrupted; but he superintended the chief private 
entertainments. It was the Duke of Montagu who played off a celebrated 
practical joke upon Heidegger, the theme of a drawing in the Museum collection 
long ascribed to Hogarth, but more probably by Philip Mercier, under whom it 
is described. 

Purchased July, 1848. 

5. The Promenade in the Mall, St. James's. Yiew in the Mall under trees, 
with houses in the background. Coming from the r. is a group of two gentle- 
men with two ladies and a little girl between them; the nearer man is young, 
the further one short and stout. At the 1. is a seat with its back turned to the 
front ; three men are sitting on it, one leaning on a stick aud looking round. 
Beyond the trees is an orange woman offering her fruit to a couple passing 
from 1 to r., and at the 1. is a cavalier riding in the same direction. Signed and 
dated Mar: Laroon F. 1744. 

Indian-ink wash and pen, over pencil ; imp., 15| X 12 in. 

Purchased August, 1854. 



LAURENCE, Samuel (b. 1812, d. 1884). Portrait painter; born at 
Guildford ; well known by his numerous portraits, chiefly of literary 
men, with many of whom he was intimate ; worked in London ; 
exhibited at the Royal Academy and elsewhere from 1834 till his 
death. 

1. Study for Portrait of Thomas Carltle. Head only in full face, clean 
shaven, eyes looking a little to the r. Signed S. L. 



Samuel Laurence. — C. Laver. 



37 



Black chalk and stump on stone-gray paper, heightened with white ; roy., 
18* X 13£ in. 

Laurence painted Carlyle's portrait in 1841, and it was engraved in E. H. 
Home's 'New Spirit of the Age,' 1844. This study differs in pose from the 
engraved portrait, but dates from the same period, between the publication of 
' The French Revolution ' and of ' Cromwell,' when Carlyle was beginning to be 
known in London Society. 

Purchased June, 1889. 

2. Portrait Sketch of W. M. Thackeray. Head and shoulders, in full face, 
looking r. Signed and dated S. L. Br. 48. 

Pen-and-ink, with slight wash ; roy., 4$ X 3J in. 

A more elaborate drawing of Thackeray's head by Laurence, in the same 
attitude, was engraved by F. Hull and published March 1, 1853. At the date 
of this sketch Thackeray was thirty-seven and had just won his first real fame 
by ' Vanity Fair.' 

Purchased December, 1898. From the collection of Mr. Barry Delany. 



ILAVER, C. (worked about 1828-1830). Draughtsman; biography un- 
known ; worked in Egypt for Robert Hay, author of ' Illustrations 
of Cairo.' See under Carter (O. B.), Vol. I., p. 199, where other 
drawings by Laver are described. 

1. Album containing drawings in Assiout and Cairo. 

(1) Street and Mosque in Assiout. 

Pencil and sepia. 

(2) A Mosque. Inscribed Gamah el Mejddin. 

Pencil and sepia. 

(3) View in Assiout. 

Pencil and sepia. 

(4) Street and Mosque in Assiout. 

Pencil and sepia. 

(5) Mosque in Assiout. 

Pencil and sepia. 

(6) Mosque in Assiout. 

Pencil and sepia. 

(7) Mosque in Assiout. 

Pencil and sepia. 

(8) Mosque in Assiout. 

Pencil and sepia. 

(9) Gami el Hafi (?), Assiout. 

Pencil and sepia. 

(10) Mosque in Assiout. 

Pencil and sepia. 

(11) A Mosque. Inscribed Gamel Meydaub. 

Pencil and sepia. 

(12) Gami Selim Kashif, Assiout. 

Pencil and sepia. 

(13) A Mosque. Inscribed Gamel Usf&i. 

Pencil and sepia. 

(14) Gami SelIm Kashif. 

Pencil and sepia. 

(15) A Public Fountain. 

Pencil and sepia. 

(16) A Public Fountain. 

Pencil and sepia. 



38 



Drawings of the British Scliool. 



(17) Shop in Cairo. 

Pencil and sepia. 

(18) Door of the Mosque of Sultan Kalaon. 

Pencil and sepia. 

(19) Mosque near Sultan Hasan. 

Pencil and sepia. 

(20) Gami Sheikh Da'ud. (?) 

Pencil and sepia. 

(21) Door in the Street El Gammaliv. (?) 

Pencil and sepia. 

(22) Mosque of Harbakki. 

Pencil and sepia. 

(23) Mosque of the Emir Akhur. 

Pencil and sepia. 

(24) Euined Mosque. 

Pencil and sepia. 

(25) Mosque Ibrahim Sarim. 

Pencil and sepia. 

(26) Hospital and Mosque. 

Pencil and sepia. 

(27) Mosque Umm es-Sultan. 

Pencil and sepia. 

(28) Mosque of Saiyid Sulaiman. 

Pencil and sepia. 

(29) Ahmed Pasha's Palace. 

Pencil and sepia. 

(30) Fountain of the Bedawiyeh. 

Pencil and sepia. 

(31) Door near the Mosque of El Haziier. 

Pencil and sepia. 

(32) Entrance into the Mosqde of El Haziieb. 

Pencil and sepia. 

(33) El Azher. 

Pencil and sepia. 

(31) Mosque adjoining the Bab el-Futuh. 
Pencil and sepia. 

(35) Exterior of the Bab el-Fotuh. 
Pencil and sepia. 

(30) Entrance to Mosque of Sultan Kalaun. 
Pencil and sepia. 

(37) Street with Mosque. 

Pencil. 

(38) A Ruined Building. 

Pencil. 

(39) (a) (ft) Egyptian Lattice-windows. 

Pencil. 

(40) (a) (b) Lattice-windows. 

Pencil. 

(41) (a) (b) Lattice-windows. 

Pencil. 

(42) (a) (b) Lattice-windows. 

Pencil. 

(43) (a) (ft) La "tick-windows. 

Penc '!. 



C. Laver. — Andrew Lawrence. — Sir Tliomas Lawrence. 39 

(44) (a) (b) Lattice-windows. 

Pencil. 

(45) (a) (b) Lattice-windows. 

Pencil and sepia. 

(46) A Lattice-window. 

Pencil and sepia. 
Purchased October, 1879. 

LAWRENCE, Andrew (b. 1708, d. 1747). Engraver ; born in West- 
minster ; lost his fortune through experiments in alchemy ; studied 
engraving under P. Le Bas, in Paris, where he produced thirty-five 
plates, chiefly after Dutch masters, and where he died ; known in 
France as Andre Laurent. 

1. Dance of Peasants ; after J. B. M. Pierre. Peasant men and girls sitting 
grouped in a circle round a couple who dance in the centre, the man playing on 
castanets ; a girl at the 1. plays a tambourine, and two youths a guitar and pipe, 
and above tbem is a boy in a tree and two others on a high marble fountain ; 
trees and buildings in the near distance. Outline transfer drawing for 
engraving, with the signature and date in reverse on the fountain, Pierre 1744. 
Signed on the margin Pierre invt. Andw . Lawrence delint. 

Pencil and red chalk ; roy., 13J X 16£ in. 

Engraved. 

On the back is pasted a memorandum, presumably by Thomas Major, who 
left a MS. memoir of Lawrence, written in 1785, to the effect that this is the 
only drawing left by the artist, who ' carefully destroyed ' his other drawings, 
'he being ever dissatisfied with his performances.' 

Purchased May, 1870. Formerly in the Esdaile Collection. 

LAWRENCE, Sir Thomas, P.R.A. (b. 1769, d. 1830). Painter; born 
at Bristol ; distinguished from his early childhood for his precocious 
gifts as an artist ; worked as a boy at Devizes, where his father kept 
an inn, and at Bath, painting portraits with great success ; came to 
London in 1787 and studied at the Royal Academy ; elected A.R.A. 
1791, R.A. 1794, and P.R.A. on his return from the Continent, 
1820; from 1810, when Hoppner died, by far the most popular and 
influential painter of his day ; well known also for his unrivalled 
collection of drawings by the old masters. 

1. Portrait Study of Lady Hamilton. Half length in an oval, turned to the L, 
the head in profile looking up 1. and wrapped in a shawl. Inscribed by Lady 
Hamilton Emma, 1791. 

Black and red chalk and stump ; oval ; roy., 7| X 5f in. 

Engraved by C. Knight (a private plate) 1792. On an impression of this 
print in the department is the inscription : ' This was drawn in pencil by Sir 
T. Lawrence while in company with Lady Hamilton and engraved for his 
private use by C. Knight. ' 

Reproduced in Lord Ronald Gower's 'Lawrence ' (Groupil, 1900), p. 65. 

Emma Lyon, b. about 1761 in Cheshire, of humble origin, but of extra- 
ordinary beauty, successively mistress of the Hon. Charles Greville and of his 
uncle Sir William Hamilton, became the latter's wife in 1791, the date of this 
drawing ; exercised considerable power at Naples, where Hamilton was 
ambassador ; and in 1793 first met Nelson, in whom she inspired an infatuated 
passion, and to whom she bore a daughter in 1801 ; died at Calais 1815. 

2. Portrait Study of a Lady. Half length of a young lady seated in profile 
turned r., and looking down. 

Black and red chalk ; roy., 8J x 6J in. 

3. Head of a Sleeping Baby. Signed and dated T. Lawrence delint Feby. 1789. 

Red and black chalk ; roy., 8£ x 6J in. 

Nos. 1-3 were bequeathed by Richard Payne Knight, Esq., 1824. 



40 



Drawings of the British School. 



4. Portrait of Miss Marshall, Niece op Mrs. Wolff. Bust, turned slightly r., 
the face full, eyes looking 1., lips parted ; wearing low dress and coral necklace. 
Dated and signed Parsonage, October 1815. T. L. 

Black and red chalk ; roy., lOf X 8g in. 

Mrs. Wolff was a lady for whom Lawrence long entertained an attachment. 

5. Portrait of Lieut. Hutchinson. Half length, facing to front, the head in three- 
quarter face looking 1. 

Bed and black chalk, with stump on the hair ; roy., 8g X 1\ in. 
Nos. 4 and 5 were purchased December, 1847. 

6. Portrait of William Godwin. Half length, facing to front, the head in three- 
quarter face looking 1. and up. 

Bed and black chalk ; roy., 8f X 7| in. 

William Godwin, b. 1756, became celebrated as a philosophic* 1 radical, and 
the author of 'Political Justice' (1793), wrote 'Caleb Williams' and other 
novels, some unsuccessful plays and some good ant ; quarian works ; married Mary 
Wollstonecraft and by her became father of Mary, afterwards Mrs. Shelley ; 
died 1836. 

Purchased May, 1861. 

7. Study of Arms and Hands. Study of a lady's arms and hands, one holding 
up a fold in her dress, the other pointing horizontally. 

Black and red chalk and stump ; roy., 8J x 7 in. 

8. Study of Legs. Study of a naked baby's legs. Signed and dated T. L., 
June 21, 1807. 

Bed and black chalk on drab paper, heightened with white ; roy., 10 J X 7 J in. 

9. Study of a Leg. Study of a baby's leg. 

Bed and black chalk on drab paper, heightened with white ; roy., 10£ X 6f m. 
Nos. 7-9 were purchased August, 1871. 

10. Two on one mount, roy., viz. : — 

(a) Portrait of Mrs. Bloxham, Sister of the Artist. Half length in an 
oval, seated turned to front and 1., the face in proiile looking 1. 
Pencil on vellum, oval ; 4£ X 3& in. 
Beproduced in Lord Bonald Gower's ' Lawrence,' p. 49. 
(6) Portrait of Miss Hammond, Cousin of the Artist. Full half length 
in an oval, seated turned to front and 1., the face in three-quarters looking 
1., wearing a frilled cap. 
Pencil on vellum; oval, 5 J X 4 in. 

These two highly-finished drawings were made in the artist's twelfth 
year. 
Purchased June, 1885. 

11. Two on one mount, roy., viz. : — 

(a) Study of Facial Expression. Head of a girl with ringlets, in three- 
quarter face turned r., and eyes looking full. Over the lower half of the 
drawing is a fold of paper, with the head continued from the eyes in full 
face, giving a quite different expression. 

Pencil, touched with Indian ink ; oval ; 4£ X 3| in. 
(6) Study of Facial Expression. H^ad of a young man in three-quarter 
face turned 1., eyes looking full. With a fold over the lower part, on which 
the face is continued in a different direction, turned r. instead of 1. 
Pencil, touched with Indian ink; oval ; 3J X 4£ in. 
Purchased January, 1886. 

12. Portrait of Henry Fuseli, B.A. Bust turned to front, head in three-quarter 
face turned r. and looking r. 

Pencil on brownish paper; roy., lOf X 7f in. 

Fuseli was one of Lawrence's greatest friends. For his biography, see under 
his name in this catalogue, Vol. II. 

Purchased April, 1890. Formerly in the Benoni White Collection. 



Sir Thomas Lawrence. 



41 



13. Portrait of Earl Bathurst. Head and shoulders turned r., the face nearly 
full, eyes full. 

Black chalk with a little red chalk, unfinished ; roy., 8£ X 6J in. 

Henry, third Earl Bathurst, b. 1762, held various offices under Pitt, Addington, 
Liverpool, and Wellington; a Tory of moderate views and useful abilities; 
d. 1834. 

14. Portrait Study op a Girl. Head of a girl in full face, looking full. 

Black and red chalk ; roy., 8| X 6| in. 

Nos. 3 and 14 were purchased May, 1891. From the Maude Collection. 

15. Portrait of the Countess Rozalie Ezewuska. Half length, seated, in profile 
turned 1. and looking 1., with hands clasped. 

Black chalk and stump, touched with red chalk and water-colour tint, highly 
finished; roy., 16J X 10 J in. 

The original label at the back of this drawing read, Portrait de la Comtesse 
Rosalie Hzewusha nee Princesse Lubomirska ; dessine'par le chevalier Lawrence a 
Vienne. Alexandra, daughter of Prince Alexander Lubomirski, b. 1788, was 
arrested with her mother in Paris, 1794 ; the mother was guillotined, and the 
child left in the care of a woodcutter and his wife ; discovered by her father, 
she was taken to Berlin and her name changed, in memory of her mother, to 
Rozalia; married Wenceslaus Rzewuski, a famous Orientalist, who was sent 
to Arabia to get horses for Alexander I. of Russia, and returned to spend the 
rest of his days in Arab garb teuding horses on the Steppes of Poland. Rozalia 
died in Warsaw, 1865. 

Purchased July, 1900. 

16. Portrait of Samuel Rogers. Half length, seated, turned to front and r., the 
face in three-quarters turned r., eyes looking full ; hand to chin. 

Red and black chalks, highly finished; roy., llf x 8| in. 

Engraved in stipple by W. Findenfor Rogers' ' Poems' ; also on a larger scale 
by H. Meyer. 

Samuel Rogers, banker and poet, b. 1763, d. 1855 ; equally noted for his sharp 
tongue, kind heart, and fine taste ; author of ' The Pleasures of Memory,' and 
other poems very popular in their day ; well known as a collector and connois- 
seur, and famous as a host, his house in St. James' Place being the centre of 
literary society in London for a long period of years. 

Bequeathed by Henry Vaughan, Esq., August, 1900. 

17. Meadows Opposite Sloane Street. Moonlit fields, with elms in the hedgerow 
beyond. 

Black and white chalk on bluish paper; roy., 11 J x 11| in. 

Reproduced in Lord Ronald Gower's ' Lawrence,' p. 177. 

Drawn from memory by Lawrence after walking home on a moonlit night in 
early life (as he told Mr. Esdaile in 1829). 

Purchased December, 1885. Formerly in the Hamilton and Esdaile 
Collections. 

18. Study from the Laocoon. Head and bust of Laocoon. Inscribed, Sketch from 

the original statue in the Vatican for the background of a Portrait of Pius the l tl% . 
Thos. Lawrence. 

Black and white chalk on brown paper ; roy., 16J X 12£ in. 

19. Study from the same Statue. The figure of one of the sons. Inscribed, 
From the original Statue. Thos. Lawrence. 

Black and white chalk on brown paper ; roy., 16 X 9£ in. 

20. Study from the same Statue. Study of the legs of the group. Inscribed, 
From the original statue in the Vatican. Thos. Lawrence. 

Black and white chalk on brown paper ; roy., 10£ X 8 in. 

The portrait of Pius VII. was painted by Lawrence when in Rome, engraved 
by S. Cousins and by E. Mclnnes. The Laocoon group is seen in the background 
at the 1. 

Nos. 18-20 were presented by Mrs. Jones, December, 1871. 



42 



Drawings of the British School. 



LAWSON, Cecil Gordon (b. 1849, 1 d. 1882). Landscape painter and 
draughtsman on wood ; born near Shrewsbury ; son and pupil of a 
portrait painter ; painted fruit and flowers in water colours for a time, 
but from 1869 painted almost entirely landscapes in oils, with great 
success, in a style distinguished by poetic feeling, originality, and high 
aim; died young; worked chiefly in Chelsea, Kent, Surrey and 
Yorkshire. 

1. Haymakers. Moonlight landscape ; a man and woman making hay in a field 

on a hillside, with dark woods below and a valley beyond, and a tower rising 
against the horizon. 

Water co'ours and body colours ; roy., 4§ X 6£ in. 

Probably a study made in Ireland, i873, where the artist planned his picture 
' Making Hay while the Moon Shines,' finished in 1875. 

2. A Yorkshire Valley. View from a height looking down on a green and 
wooded valley, in the midst of which are two streams meeting, with a sandy 
islet at their junction. 

Water and body colour sketch ; roy., 9§ x 8f in. 

3. Fir Trees. Two fir trees in the foreground of a meadow dotted with cattle ; 
an oak in autumn colours further off, r., and hill slopes beyond. 

Water-colour sketch ; roy., 17 X llf in. 
All purchased March, 1892. 



LEAK, Edward, (b. 1812, d. 1888). Painter, lithographer and author ; 
born at Holloway ; of Danish descent ; made drawings of birds for 
scientific works during the earlier part of his career, but from 1836 
worked almost entirely at landscape, chiefly abroad, in Italy and 
southern Europe, Palestine and India ; published several books on 
travel, illustrated by himself, and the more celebrated ' Book of 
Nonsense ' (1846) ; died at San Remo. 

1. Two on one mount, roy., viz. : — 

(a) Tasso's House, Sorrento. The house and other buildings on steep rocks 
rising r. from the sea ; the cliffs of the coast and mountains beyond. Signed 
and dated Edward Lear del. Sorrento, July 2, 1843. 

Pencil on greenish paper, heightened with white ; 6| X 9£ in. 

(b) View in the Abrtjzzi. A pass between precipitous masses of rock leading 
up to a fortified town, and mountains bordering a lake : probably a view of 
Ortucchio, on the Lago di Fucino, drained in 1862. Signed and dated 
Edward Lear del., 1839. 

Pencil ; 6f X 12£ in. 
Purchased June, 1883. 

2. View of Frosinone. View below the town, which crowns abrupt heights at 
the 1., from a road bordered on both sides by trees, and with a plain enclosed by 
mountains at the r. Signed and dated Frosinone, E. Lear del., 1838. 

Black chalk on greenish paper, heightened with white ; roy., 10 X 14& in. 

Coast between Amalfi and Positano. A wayside shrine before which two 
peasant girls and a boy are halting, on a path leading down to the sea beyond ; 
at the r. wooded slopes, with scattered buildings, rising from the shore. Signed 
and dated Edward Lear del., 1839, and inscribed Coast between Amalfi and 
Fositano. 

Black chalk on greenish paper, heightened with white ; roy., lOf X 17 in. 

View of Kocca d'Arzi. View of a conical hill, rising 1. from the plain and 
crowned with a castle ; on the slope a small town, to which a road leads from 
the foreground over a bridge across a stream ; in the 1. foreground two peasant 
women under a clump of trees. Signed and dated Edward Lear del., 1839, and 
inscribed Rocca d'Arzi. 

Pencil on greenisli paper, heightened with white; roy., 9| X 13£ in. 

1 Lawson's birth-date has hitherto been wrongly given as 1851. 



3. 



Edward Lear. 



43 



5. Isola S. Giulio. Part of the island with its clustered buildings, rising r. from 
the lake, which mountains in shadow enclose at the 1. Signed and dated Edward 
Lear del., 1839, and inscribed Isola S. Giulio Orta. 

Pencil on greenish paper, heightened with white ; roy., 10 X 13§ in. 

6. Val Montone. View between lofty trees, forming an avenue at the r. of a town 
on its hill beyond the river Montone. Signed and dated Edward Lear del., Val 
Montone, 1839. 

Black chalk on greenish paper, heightened with white ; roy., 12^ x 17£ in. 

7. Tivoli. Peasants on a road bordered by olives, with a distant view of Tivoli 

and hills beyond. Inscribed Tivoli. Signed and dated Edward Lear del., 
1840. 
Black chalk on drab paper heightened with white ; roy., 10| X 15J in. 

8. Bkacciano. The town seen at a little distance, with its massive fortress 1., and 
the lake, enclosed by mountains, beyond. Inscribed Bracciano. Signed and 
dated Edward Lear del., 1841. 

Pencil on drab paper, heightened with white ; roy., 9| X 15| in. 

9. Subiaco. View of the town on its isolated hill, with bridge and stream in the 

1. foreground, and mountains beyond. Inscribed Subiaco. Signed and dated 
Edward Lear del., 1841. 
Pencil on drab paper, heightened with white ; roy., 10J x 15| in. 

10. Guadagnolo. A barren tract with an abrupt mass of rock towering in the 
distance ; a cross by the wayside in the 1. foreground. Signed and dated Edward 
Lear del., 1841, Guadagnolo. 

Pencil on greenish paper, heightened with white; roy., 7 X 10 J in. 

11. Guadagnolo. A view of the same rocky height from a different side; peasants 

on the road leading from the foreground. Signed and dated Edward Lear del., 
1841, Guadagnolo. 
Pencil on greenish paper, heightened with white; roy., 7J X 10§ in. 

12. Guadagnolo. Near view of the entrance to a little town, perched on rocky 
heights and approached along the cliff edge by a path on which are peasants. 
Inscribed Guadagnolo. Dated and signed, 1841, Edward Lear del. 

Pencil on greenish paper, heightened with white; roy., 6^ X 10| in. 

13. La Mentorella, Guadagnolo. A road leading along a broad ridge to a 

towering mass of rock at the end of it, projecting like a promontory into the 
plain ; numbers of country people are passing along the ridge to a chapel under 
the cliff, behind which a stair leads to the buildings at the top. Inscribed La 
Mentorella, Guadagnolo, Sept. 29 [presumably 1841, the date of the sketch 
from which this was made]. Signed and dated Edward Lear del., March. 1842. 

Black chalk on greenish paper, heightened with white ; roy., 9g x 16J in. 

La Mentorella is the traditional scene of the conversion of St. Eustace by the 
apparition of a stag with a crucifix between its horns. The fete day, Sept. 29, 
occasions the visits of many pilgrims, who ascend the steps to the Campanile 
kneeling. 

14. Ponte Nomentana. View looking down on the wide Campagna, with the 
one-arched bridge over a stream in the middle distance; shepherds with their 
flocks scattered over the plain, and hills in the distance. Inscribed Ponte 
Nomentana. Signed and dated Edward Lear del., 1842. 

Black chalk on greenish paper, heightened with white ; roy., 9f X 17J in. 

15. Villa Adriana. View through an archway in the ruined wall, shaded by trees 

on either side, to the plain beyond ; a man on a mule, followed by a woman on 
foot, moving away from the foreground. Inscribed Villa Adriana. Signed and 
dated Edward Lear del., 1842. 

Black chalk on greenish paper, heightened with white ; roy., 15^ X 10J in. 

16. Near S. Pietro in Vincolis, Rome. Friars going up a flight of steps, which 
lead through an archway under a large building. Inscribed Near S'' Pietro in 
Vincolis, Roma. Signed and dated Edward Lear del., 1842. 

Black chalk on drab paper, heightened with white ; roy., 12§ x 9J in. 

Nos. 2-14, with the exception of No. 12, were purchased November, 1892. 
Nos. 12, 15, and 16 were presented by Alexander Malcolm, Esq., in the same 
month. 



44 



Drawings of the British School. 



LE CAPELAIN, John (b. about 1814, d. 1848). Painter; born in 
Jersey; worked from about 1832 in London; well known for his 
water-colour coast scenes with effects of mist ; made views of Jersey 
and of the Isle of Wight for Queen Victoria. 

1. Coast Scene: Loading Seaweed. A little bay with rocky shore beyond, 
overhung by a bank of fog ; in the shallow water r. a cart with two horses, to 
which men in a boat are bringing seaweed 1. Signed Le Capelain. 

Water colours ; roy., 7 x 10 J in. 

Purchased May, 1890, at the Percy sale. 

LE CAVE, P. (worked about 1769-1803). Painter; drew tinted land- 
scapes, with cattle and figures, and painted a few oil pictures of the 
same class ; exhibited at the Royal Academy 1801. 

1. Landscape in the Manner op Berchem. The banks of a stream; a woman 
with a child on her back wading in the shallow water r. ; two cows and a lamb 
on the bank near a tree, driven by a man on horseback. 

Pencil, with sepia and Indian-ink wash ; roy., 6J x 9 in. 
Purchased March, 1847. Formerly in the Thane Collection. 

2. A Pastoral. A gentle slope of grass, with trees on either side, up which cows 

and sheep are moving away ; in the r. foreground the young herdsman is talking 
to a milkmaid, who sits on a fallen tree, while his dog drinks at a pool towards 
the 1. ; evening light in the sky. 

Water colours and Indian ink ; atl., 23 J X 18§ in. 

Purchased July, 1878. 



LEECH, John (b. 1817, d. 1864). Draughtsman, caricaturist and book 
illustrator ; born in London ; studied medicine, but abandoned it 
about 1835 for art ; worked for ' Punch' from its foundation in 1841 
till his death, producing about 3,000 drawings, including about 600 
political cartoons, illustrating all classes of society with unbounded 
expressiveness, humour and geniality ; illustrated also a great number 
of books by Percival Leigh, Dickens and others; exhibited (1862) oil 
sketches enlarged from ' Punch ' designs. 

1. The Election ; Illustration to ' The Adventures op a Scamp.' Mr. 
Bagges, the Tory candidate, entering the market place of Swinstead in a coach, 
followed by a cheering crowd, with a man holding a flag dancing on the roof, 
and young Mr. Bagges on the box. 

Pencil ; roy., 8| X 8§ in. 

Etched by the artist for the ' Illuminated Magazine ' (edited by Douglas 
Jerrold), Vol. III., p. 277, 1844. 

2. Two on one mount, roy., viz. : — 

(a) Design for ' Punch.' A lady in an enormous crinoline seated on a chair in 
a park, and approached by the park-keeper, who asks for payment. 

Pencil sketch ; 4f X 6§ in. 

Engraved on wood in ' Punch,' Vol. XXXVII., p. 21 (July 9, 1859), with 
the legend, Chair Proprietor : Would you please to pay for the cheers, 
Mum ? Lady : How much ? Chair Proprietor : Well, Mum — How many 
might you be a sittin' on ? 

(b) Sheet of Studies. ' Colley Cibber and Shakespeare ' (a dressed up 

monkey defacing a bust of Shakespeare) ; a prize fighter ; a Life-guardsman 
on a slide, jeered at by a small boy ; and a back view of an equestrian 
statue. With a rough draught of a letter to ' Punch.' 
Pencil ; 1\ X 10 in. 



John Leech. — Alphonse Legros. 



45 



3. Five on one mount, roy., viz. : — 

(a) Suicide in a Water Butt. A tall water butt with a chair on a table 
beside it, from which a man has thrown himself into the water and his legs 
are sticking up out of the butt ; a horrified gardener with a spade in the 
background. 

Pencil sketch ; 3g X 2| in. 

(b) A Political Satire (?). A personage in a turban on a rocking horse. 

Pencil ; 3£ x 2§ in. 

(c) Foreigners at the Great Exhibition, 1851. Two foreigners staring at a 

taxidermist's door, in which is a notice Foreign skins washed here; a small 
boy jeering behind. 
Pencil ; 5 X 3| in. 

(d) Foreigners at the Great Exhibition. 

Pencil; 4£ x 3| in. 

(e) A Foreigner at the Great Exhibition. 

a waiter. 

Pencil ; 4| x 3J in. 
Nos. 1-3 were purchased November, 1890. 



A group of miscellaneous heads. 
A foreigner ordering a meal from 



4. Children op the Mobility. A group of Irish children in an alley ; Miss 
Margaret Flinn, a tall girl, standing before a doorway and looking down on 
Master Gregory Flinn and Master Donovan, who are talking together ; while 
Miss Katherine O'Shaugnessy at the r. pulls at a pot of beer ; old wives gossiping 
in the background. 

Pencil ; roy., 9 x 7 in. 

Lithographed, by the artist as frontispiece to the ' Portraits of the Children of 
the Mobility' (by Percival Leigh), 1841. 

5. The Parting Breakfast ; Illustration to Dickens' ' Battle of Life.' The 

breakfast in the open air outside Dr. Jeddle's house ; he and the two lawyers 
and his two daughters seated at the table with Alfred Heathfield, while 
Clemency Newcome waits on them, and Britain carves at a separate table r. 
Above, a landscape with the coach coming along the road. 

Pencil ; roy., 5§ X 3J in. 

Engraved on wood by G. Dalziel in Dickens' ' Battle of Life ' (1846), p. 28. 

Nos. 4 and 5 were purchased June, 1893. 

After John Leech. 

Agricultural Distress. A hunting scene; the hunters stopping at the edge 
of a field of wheat. Inscribed Agricultural Distress. Whip : Hold hard, 
gentlemen ! Wheat ! wheat ! 'ware wheat ! Young farmer : Come on, gentle- 
men, never mind the ivheat It's only thirty shillings a quater [sic] ! 

Pen-and-ink washed with water colours ; roy., 9f X llf in. 

Imitated from a woodcut after Leech engraved in 'Punch,' Vol. XX., p. 128 
(1851). 

Purchased July, 1885, at the Gaskoin sale. 



LEGROS, Alphonse (b. 1837). Painter, sculptor, medallist, etcher and 
lithographer ; born at Dijon ; Slade professor at University College, 
London, 1876-94; living artist. 

A satyr seated on a bank, looking 1., and 



1. Study for a Picture of a Satyr. 
playing on the reeds. 

Pen-and-ink; roy., 15J x 11 J in. 

2. Study for a Bas-relief; Nymph and Satyr. A satyr 
kneeling under a vine and gathering grapes into a basket. 

Pen-and-ink; roy., 11£ x 11£ in. 

Nos. 1 and 2 were presented by the aitist, May, 1889. 



nymph 



46 



Drawings of the British School. 



3. Design for the Decoration op the Bank of England on the Day of the 
Diamond Jubilee of Queen Victoria, 22 June, 1897. A pedestal flanked 
by two small pedestals on which are boys holding shields inscribed 1837 and 
1897. On the central pedestal is a figure of Britannia, holding a spear in one 
hand and an olive branch in the other ; she comes in a chariot drawn by two 
prancing horses, whose bridles are held by a boy standing between them ; 
beneath, seated on each side of the pedestal, are an old man and and a young 
man, looking up in wonder, the old man holding a long hammer ; on the plinth 
in front are two naked boys supporting a shield between them. Signed 
A. Legros. 

Sepia wash, with brush and pen shading; roy., 9| X 18 in. 
Presented by the artist, February, 1898. 

4. Portrait of Madame A. Poulet-Malassis. Head in profile, looking 1. ; the 

hair tied with a ribbon behind. Signed A. L. 
Pencil ; roy., lOf X 8J in. 
Presented by A. W. Thibaudeau, Esq., July, 1886. 

5. Portrait of Sidney Colvin, Esq. Head in three-quarter to full face ; turned 
1. and looking 1. Signed and dated A. Legros, 1893. 

Pencil on prepared paper; roy., 10 x 7§ in. 
Presented by the artist, June, 1893. 

6. Study of a Female Head. A head with curls falling low over the forehead 
in profile, looking 1. 

Silver point on prepared paper; roy., 8 J X 6g in. 
Presented by the artist, August, 1888. 

7. Study of an Old Man's Head. Head of a bearded man in profile looking r. 

Red chalk on greenish prepared paper; roy., 13£ X 9£ in. 
Presented by the artist, September, 1891. 



Study for the Figure of a Dead Christ. 
his back with the head towards the r. 

Eed chalk ; roy., 7f X 13 in. 

Presented by the artist, December, 1887. 



Nude study of a man lying on 



)() 



Academical Study. Study (to the knees) of a nude male figure, standing, 
facing almost to front, turned slightly 1., the head looking r. 
Silver point on prepared paper; roy., llf x 8| in. 
Presented by the artist, September, 1886. 

Academical Study. Study (nearly to the knees) of a nude male figure, 
standing, turned almost to front, the head turned 1. and looking 1. ; a stick in r. 
hand. 

Pencil; roy., 11 J x 8£ in. 

11. Study of a Pair of Hands. Two hands with palms joined. 

Pen-and-ink over pencil ; roy., 8£ x 9£ in. 

Nos. 10 and 11 were presented by the artist, May, 1889. 

[12-26.] Studies from pictures and statues. 

12. Study from Michelangelo. Part of the figure of Adam on the ceiling of the 

Sistine Chapel. 
Pen-and-ink on brown paper ; roy., 11£ x 9J in. 

13. Studies from Michelangelo. Studies from the figures of the Almighty and 
the sleeping Adam in 'The Creation of Eve' ; a man carrying a bundle, and 
another one following him, from ' The Deluge,' and heads of an old man and 
child from the same subject. Signed A. L. 

Silver point on prepared paper ; roy., 9J X 12£ in. 
Nos. 12 and 13 were presented by the artist, December, 1887. 

14. Study from Michelangelo. The figure of Eve from ' The Creation of Eve.' 

Pencil ; roy., 8 J X 9| in. 
Presented by the artist, May, 1891. 



Alphonse Legros. — Lord Leighton. 



47 



15. Study prom Michelangelo. A woman carrying a child, with another child 
clinging to her leg, from ' The Deluge.' 

Silver point on prepared paper ; roy., 12§ X 9J in. 

16. Study from Michelangelo. The figure of Noah asleep, from ' The Drunkenness 
of Noah.' 

Silver point on prepared paper; roy., 8£ X 11 in. 
Nos. 15 and 16 were presented by the artist, May, 1889. 

17. Study from Michelangelo. One of the young men on the cornice of the 

Sistine Chapel, beneath ' The Creation of Eve.' 
Pen-and-ink; roy., 16 X 11§ in. 

18. Study from Michelangelo. Another of the young men on the cornice, beneath 
' The Sacrifice of Noah.' 

Pen-and-ink; roy., 16 X 11£ in. 

19. Study from Michelangelo. Another of the young men on the cornice, beneath 
' The Drunkenness of Noah.' 

Pen-and-ink; roy., 17 X 11} iu. 

♦ 

20. Study from Michelangelo. Another of the young men on the cornice, facing 
the last figure. 

Pencil ; roy., 18J X 12 in. 

21. Study from Michelangelo. Group of mother and children from one of the 

lunettes above the windows of the Sistine Chapel. 
Silver point on prepared paper ; roy., 9 J x 6g in. 

22. Study from Michelangelo. The figures of St. Bartholomew and St. James 

the Less, from ' The Last Judgment.' 
Pen-and-ink on brown paper ; roy., 10£ X 11| in, 
Nos. 17-22 were presented by the artist, December, 1887. 

23. Study from Andrea del Sarto. Figure of the executioner of St. John the 
Baptist, from the fresco in the Scalzo, Florence, with the figure of St. John 
slightly indicated behind. Signed A. Legros. 

Pencil on prepared paper ; roy., 12£ x 10 in. 
Presented by the artist, Juue, 1893. 

24. Study from the Antique. The torso of the Vatican, back view. 

Black chalk; roy., 17 X 12 in. 

25. Study from the Antique. The same torso, side and front view, from the r. 

Silver puint on prepared paper ; roy., 12| x 9| in. 

26. Study fijom the Antique. The same torso ; side and back view from the r. 

Signed A. L. 
Silver point on prepared paper ; roy., 12f x 9J in. 
Nos. 24-26 were presented by the artist, December, 1887. 



LEIGHTON, Frederic, Lord, P.R.A. (b. 1830, d. 1896). Painter 
and sculptor ; born at Scarborough ; studied at Florence and Paris, 
and for some years under Steinle 1 at Frankfort ; worked chiefly at 
Rome till about 1859, afterwards with brilliant success in London ; 
elected A.R.A. 1864, R.A. 1868, P.R.A. 1879 ; distinguished for 
multifarious accomplishments ; exhibited a long series of oil pictures, 
inspired chiefly by classical art and poetry, painted two large frescoes 
for South Kensington Museum, and a few portraits ; produced some 
important statues, and designed woodcut illustrations to books. 

1 A portrait study of the young Leighton by Steinle is in the department. 



48 



Drawings of the British School. 



1. Death op Brunelleschi. The dying architect sits in a loggia in Florence 
supported by the arm of the sculptor Ghiberti, who points through the 
balcony arch to the dome of the Cathedral. Behind Ghiberti stands a bearded 
man, over whose shoulder the head of a youth appears. A woman sits 
in the foreground r. behind Brunelleschi's chair, beside which a greyhound 
looks up at his dying master ; a boy sitting at the 1. signs silence to a child 
who brings a dish of fruit. 

Charcoal, touched with white in places ; atl., 20 X 15J. 

The picture, painted about 1851, is at the Steinle Institute, Frankfort. 

2. Lantern on the Strozzi Palace, Florence. One of the comer lanterns by 

Caparra on the outside of the Strozzi Palace. Signed with monogram and 
dated Firenze, 1852. 

Pencil, highly finished; roy., 11J x 8 in. 

Nos. 1 and 2 were purchased May, 1897. 

3. Study for the head of Giotto in the picture of ' The Madonna of Cimabue 
carried in procession.' Head of a curly-haired Italian boy, in three-quarter 
face, turned 1. Signed with monogram and inscribed Agostino Roma, 1853 
(study for Giotto). 

Pencil, highly finished ; roy., 8| X 6£ in. 

The picture was exhibited at the Royal Academy, 1855. 

Purchased January, 1897. 

4. Head of Macchiavelli ; after a Bust. Head of Maccbiavelli in profile 
looking r. Signed with monogram and inscribed Niccclb Machiavelli Florence, 
1854. 

Pencil ; roy., 9£ X 1\ in. 

5. Studies of Hands Two clasped hands, with the left hand open and a flower 
between finger and thumb ; a right hand holding a carnation ; and two hands 
clasped and raised, seen from the side. At the top is a note Troppo tozzo il palmo 
[the palm too stumpy]. Signed with monogram and inscribed Carlo, Roma, 1854. 

Pencil; roy., 11| x 8£ in. 

6. Study of Thistle, Teazles, and Knapweed. 

Oil colours on canvas ; roy., 7J X 14J in. 

7. Study of Knapweed. 

Pencil ; roy., 13f X 7| in. 

Reproduced in ' Drawings and Studies by Lord Leighton,' 1898, pi. ill. 

8. Three on one mount, roy., viz. : — 

(a) Mother and Child with a Cat. A lady in the outdoor dress of the 
' sixties ' seated bending over a child with a feathered cap, who reaches over 
her knee to stroke a cat upon her lap. 

Black and white chalk on blue paper ; 2| X If in. 

(b) Mother and Child with Tambourine. A woman in classic dress seated 

with a naked baby lying on her lap, looking down on him and beating a 
tambourine over his head. 

Black and wbite chalk on blue paper ; 2| x 1£ in. 

(c) Mother and Children. A mother seated on a stool, seen in profile look- 

ing 1. and holding a baby on her lap for a kneeling girl to kiss. 
Black and white chalk on blue paper ; 2f x 2f in. 
These designs, dating from about 1859, were not carried further. 

9. Studies for 'Lieder Ohne Worte.' Two studies of a left hand hanging down ; 
two studies of a right hand; and a slight study of a girl's head reclined on 
one side. 

Black and white chalk on blue paper; roy., 15£ X 10£ in. 
The picture was exhibited at the Royal Academy, 1861. 

10. Studv for ' Helen of Troy.' Helen coming to the Scsean gate, followed at 
the r. by her two handmaids, iEthie and Clymene ; behind are the towers of 
Troy, and the sea 1. 

Black chalk on bluish paper, heightened with white ; roy., 6| x 4| in. 

The picture was exhibited at the Royal Academy, 1865, and has been 
engraved in mezzotint by Richard Josey. 



Lord Leighion. 



49 



11. Two on one mount, roy., viz. : — 

(a) Study fob a Picture, ' Ariadne abandoned by Theseus,' with its frame. 
Ariadne kneeling on the sea shore, and looking away over the sea with arms 
outstretched. In a rich and elaborate frame, with Ariadne lying on the 
ground by the sea, as a predella below. 

Pencil on tracing paper ; 7§ X 5£ in. 

(b) Study for the same Picture and frame. A less finished study ; the details 

of ornament on the frame not filled in. 

Pencil on blue paper, heightened with white ; 7| X 5J in. 

A later picture, containing three subjects from the same story, was 
exhibited at the Koyal Academy, 1868. 

12. Study of an Italian Waiter. An Italian inn waiter bringing bottles of wine 
in his hands and under his arm ; he is seen to the knees hurrying r. 

Black and white chalk on paper ; roy., 14 x 10 in. 

13. Studies for • The Egyptian Slinger.' Nude study of a man in the act of 
slinging, facing to front ; r. and 1. two smaller studies for the same figure in 
profile facing 1., after discharging a stone. The pose of the first study was that 
adopted in the picture, which bore the full title ' Eastern Slinger scaring birds 
in Harvest Time ; Moonshine.' 

Black and white chalk on blue paper ; roy., 12| x 9 in. 
The picture was exhibited at the Royal Academy, 1875. 
Nos. 4-13 were purchased May, 1897. 

14. A Sheet of Studies. Slight study of an Italian youth in a cloak playing a 

lute; slight study of Diana as huntress; study of a man with ragged beard, 
holding a scarf round his naked body ; study of the same man (to the waist) 
leaning on a crutch (perhaps study for the undated drawing ' A Contrast ' ) ; 
study of an elbow draped ; and study of a hand holding a lute. 

Black and white chalk on blue paper ; roy., 12 x 17| in. 

Presented by the Fine Art Society, December, 1897. 

15. Studies for 'Wedded.' A Greek bride and bridegroom standing together 
under an archway at the top of a stair ; her head leant back on his shoulder, as 
he lifts her hand to his lips ; at the 1. a separate nude study for the bride's 
figure. 

Black and white chalk on brown paper ; roy., 8J x 8£ in. 
Keproduced in ' Drawings and Studies by Lord Leighton,' Plate xxi. 
The picture was exhibited at the Royal Academy, 1882. 



16. 



17. 



Study for Figures in Cymon and Iphigenia. Study for the sleeping group 
at the r. of the picture ; two girls lying with their heads pillowed on each other. 
In the picture the arrangement is altered and one girl nestles against the other, 
whose head is pillowed on the ground. 

Black and white chalk on brown paper ; roy., 8| x 12| in. 

The picture was exhibited at the Boyal Academy, 1884. 

Study for the Portrait of Lady Sibyl Primrose. As a young girl in a 
short frock standing turned to the front, the r. elbow resting on a chair. 

Black and white chalk on brown paper; roy., 12 x 7£ in. 

This picture was exhibited at the Royal Academy, 1885. 

Lady Sibyl Primrose, eldest daughter of the Earl of Rosebery, b. 1879. 



18. Study for ' The Bath of Psyche,' ' Farewell,' and ' Perseus and Andro- 
meda.' A rough study for the complete picture of ' The Bath of Psyche,' a 
single figure standing on the steps of the bath, and in the act of removing her 
robe. Also a slight study for the standing woman's figure in 'Farewell,' some- 
what altered in the picture ; and two studies for the torso of Andromeda, 
crouching under the menacing wings of the dragon. 

Black and white chalk on brown paper ; roy., 1G X 13J in. 

The ' Bath of Psyche' was exhibited 1890, ' Perseus and Andromeda' 1891, 
and 'Farewell' 1893; all at the Royal Academy. 'The Bath of Psyche' is 
now in the National Gallery of British Art. 

VOL. III. E 



50 



Drawings of the British School. 



19. Study fob ' The Tragic Poetess.' Drapery study for the meditative figure 
of the poetess, seated facing to the front. 

Black and white chalk on brown paper ; imp., 19 £ X 12£ in. 
This picture was exhibited at the Royal Academy, 1890. 

20. Study for a Picture. Drapery study for a youthful figure seated facing 
to the front, with legs crossed, in an attitude of meditation. 

Black and white chalk on brown paper; roy., 16f X 11 in. 

21. Study for Decoration made for Mr. Marquand in New York. Study of 
drapery and of a chaplet of flowers. 

Black and white chalk on brown paper ; roy., 10J x 17| in. 

Nos. 19-21 were presented by the Fine Art Society, December, 1897. 

22. Study for Decoration at No. 1, South Audley Street. A chair of classic 
design with a robe thrown over it. 

Black and white chalk on brown paper; imp., 15f x 13§ in. 

23. Study for 'The Return of Persephone.' Drapery study for the floating 

figure of Persephone with hands outstretched to the 1. as she is led by 
Hermes to Demeter. At the r. a separate study of part of the drapery hanging 
over one arm. 

Black and white chalk on brown paper : roy., 14£ X 10£ in. 

A similar but larger study of the same figure is in the Leighton House 
Collection. The picture was exhibited at the Royal Academy, 1891. 

24. Study for the Portrait of A. B. Freeman-Mitford, Esq. Three-quarter 

length, sitting in an armchair facing 1. with hands clasped and head in three- 
quarter face looking 1. 

Black and white chalk on brown paper ; roy., 13$ X 10f in. 

The picture was exhibited at the Royal Academy, 1891. 

25. Studies for ' Hit.' Two studies for the group of a naked boy shooting with a 
bow, his aim guided by a young man sitting behind him and looking over his 
shoulder ; the group faces the front. 

Black and white chalk on brown paper ; roy., 8| X 12J in. 
The picture was exhibited at the Royal Academy, 1893. 

26. Study for 'Rizpah.' Drapery study for the figure of Rizpah defending the 
hanged body of one of her sons from the wild beasts ; she stands with head 
turned round to the 1., and grasps the body with the 1. arm. 

Black and white chalk on brown paper ; roy., 13£ X 9$ in. 
The picture was exhibited at the Royal Academy, 1893. 

27. Study for • The Spirit of the Sdmmit.' A solitary female figure seated on a 
mountain top, looking up to a starry sky. 

Black and white chalk on brown paper ; roy., 6| X 3£ in. 
The picture was exhibited at the Royal Academy, 1894. 

28. Study for ' The Bracelet.' Study for the child seated holding a mirror in 
the foreground of the picture. 

Black and white chalk on brown paper : *oy., 10x9 in. 
The picture was exhibited at the Royal Academy, 1894. 

29. Study for ' Summer Slumber.' Side and front view of the statue in the back- 

ground of ' Summer Slumber.' 

Black and white chalk on brown paper ; roy., 13 X 9§ in. 
The picture was exhibited at the Royal Academy, 1894. 

30. Study for ' Phoenicians Bartering with Britons.' Nude study for the girl 
seated in the foreground of the picture and examining the cloth offered by the 
Phoenician merchants. 

Black and white chalk on browu paper; roy., 12 X 10 in. 
The picture is one of the wall decorations of the Royal Exchange, for which 
it was painted, 1895. 



Lord Leighton. — Richard P. Leitch. — William L. Leitch. 51 



31. Study for "Twixt Hope and Fear.' Study for the figure (seen to the waist) 

of a Greek girl seated in a chair, turned ]., her face looking full over her 
shoulder, and the 1. arm hanging down. 

Black and white chalk on brown paper ; roy, 13£ X 10 in. 

The picture was exhibited at the Royal Academy, 1895. 

32. Study for ' Clytie.' Clytie kneeling by an- altar stretches out her arms to the 
sun setting 1., imploring the God not to forsake her. 

Black and white chalk ; roy, 7J X 6| in. 

Leighton's last finished picture, exhibited at the Royal Academy, 1896. 

33. The Suppliant. Study of a man's arms with hands clasped in supplication 

upon his breast. 
Black and white chalk on brown paper ; roy., 13§ x 9§ in. 
Nos. 22-33 were purchased May, 1897. 

LEITCH, Richard P. (worked about 1844-1862). Water-colour painter ; 
best known by his sea-pieces ; exhibited chiefly at the Royal Academy 
between 1844 and 1862. 

1. View of an Italian Lake. A village, with tall church tower among trees on 

the shore of a lake ; water in the foreground, and two boats with peasants ; 
beyond a narrow valley with a ruined castle crowning the hills on either side. 
Signed and dated B. P. Leitch, 188[ ]. 
"Water colours and body colours ; roy., 9J X 13g in. 

2. View in an Alpine Pass. An Alpine pass with a group of snow-covered 

houses 1., and a church r. ; three figures and two oxen in front of one of the 
houses and a woman approaching them from the foreground. 

Water colours and body colours ; roy., 9J X 13|. 

Nos. 1 and 2 were purchased April, 1885. 

3. Three on one mount, roy., viz. : — 

(a) George Stephenson's Birthplace, Newcastle. Two cottages adjoining 
each other, with a hill side close behind and a beach in front, boats drawn 
up r. and 1. Signed B. P. Leitch. 

Water colours and body colours over pencil ; 3| x 4£ in. 

(6) George Stephenson's Shop, Newcastle. View looking down a street 
with a steam engine outside the shop at the 1. Signed B. P. Leitch. 
Water colours and body colours over pencil ; 3| x 4$ in. 

(c) Institute, Newcastle. View in a broad street, with the Institute behind 
railings 1. ; groups of figures on the pavement. Signed B. P. Leitch. 
Water colours and body colours over pencil ; 3| x 4£. 
Purchased May, 1890. 

LEITCH, William Leighton (b. 1804, d. 1883). Water-colour painter; 
born at Glasgow ; began as a scene-painter in Glasgow and in London ; 
had lessons from Copley Fielding; travelled (1833) through Holland, 
Germany and Switzerland to Italy, where he worked till 1837 ; 
afterwards in London ; was celebrated as a teacher ; exhibited chiefly 
at the Institute of Painters in Water Colours, of which he became 
vice-president. 
1. Two on one mount, roy., viz. : — 

(a) On the Lago Maggiore. Culm water, over which a boat with country 
people is moving towards an island, with buildings among trees; beyond, 
the shores of the lake and mountains rising along them. Signed* and 
dated W. L, Leitch, Borne, 1835. 
Water colours ; 6 J x 11£ in. 

(6) Aqueducts near Rome. View of the Campagna, traversed at some distance 
by a long line of aqueducts, behind which towards the 1. rises a church ; 
mountains beyond; in the foreground a woman walking along a road. 
Signed and dated W, L. Leitch, 1837. 
Water colours ; 7 J x llf in. 

e 2 



52 



Drawings of the British School. 



2. Two on one mount, roy., viz. : — 

(a) Costume Study. Half-length figure of a bearded man in hat, cloak and 
collar of the seventeenth century. 

Water-colour and body-colour sketch ; 4 J x 3£ in. 

(&) Study of Rocks. Two great boulders by a stream, with trees and a sunset 
sky behind. 

Water-colour and body-colour sketch ; G| X 10f in. 

Nos. 1 and 2 were presented by Sir A. W. Franks, K.C.B., October, 
1891. 

3. Album containing views in Switzerland and on the Ehine. All in pencil, some 
on tinted paper. 

(1) The Minster at Basle. Signed W. L. Leitch. 

(2) Cologne from the Banks of the Rhine. 

(3) Cologne Cathedral. As it appeared before the building of the nave. 

Inscribed Cologne, and signed W. L. Leitch. 

(4) Strassburg from the River. 

(5) Strassburg Cathedral from the River. Signed W. L. L. 

(G) (a) Old Tower with a Crane on a Wharf at Andernaoh. Inscribed 
Andemach. 
(b) Ruins of the Palace of the Archbishops of Cologne, Andernaoh. 
Inscribed Andernaoh. 

(7) Windmills, Rotterdam. 

(8) Friburg, Switzerland : General View. Inscribed Friburg-Swiss. 

(9) Friburg : Buildings in the Town. 

(10) Church and old Houses at Boppart. Inscribed Bop-part, W. L. L. 

(11) Boppart, large Buildings on the Rhine. Inscribed Boppart, W. L. L. 

(12) Watermill at Boppart. Inscribed At Boppart. Signed W. L. Leitch. 

(13) Berne : General View. Inscribed Berne, and signed W. L. Leitch. 

(14) Church at Berne. Inscribed Berne. 

(15) View of Bacharaoh. Inscribed Bacharach. 

(1G) Bacharach, from the River. Inscribed Bacharach. Signed W. L. L. 

(17) Street View in Bacharach. Inscribed Bacharach. 

(18) Shrine of a Bishop in the Cathedral at Mayence. 

(19) Oak Stalls in the Cathedral at Mayence with Monument above. 

Inscribed This is a splendid piece of carved oah of a redish colour; the 
monument is of black marble with gold ornaments, the statues white and 
very fine. 

(20) Geneva : General View. Inscribed Geneva, and signed W. L. Leitch. 

(21) Church at Coblenz. Inscribed The facings and mouldings of the church 

are of a pinlc colour, etc. 

(22) Old Houses at Coblenz. Inscribed Coblentz, and signed W. L. L. 

(23) Church and Market-place at Coblenz. Inscribed Coblentz, and signed 

W. L. Leitch. 

(24) Interior of Church at Oberwesel. Inscribed Oberwessel. 

(25) Choir screen in the Church at Oberwesel. Inscribed Oberwessel, and 

signed W. L. Leitch. 

Partly washed with sepia and Indian ink. 

(26) Monuments in the Church at Oberwesel. Inscribed St. Mary Oberwessel. 

Partly washed with sepia. 

(27) Rheinfels : view of the ruined castle from below. Inscribed RheinfeUs. 

Purchased June, 1887. 



Sir Peter Lely. 



53 



LELY, Sir Peter (b. 1618, d. 1680). Portrait painter; born probably 
at Soest, near Utrecht ; pupil of de Grebber in Haarlem ; came to 
England in the train of William of Orange, 1641, and remained here, 
painting Charles I. and Cromwell, and becoming, under Charles II., 
the most successful and fashionable artist of the time ; well known 
by the ' Beauties ' at Hampton Court, and numberless portraits 
throughout the country ; his earlier and finer style was modelled on 
Van Dyck, in his later period he grew mannered and careless. 
[1-14.] Portraits. 

1. Portrait, said to be of Charles II. Head in three-quarter face turned r. 
and looking r., full wig falling in long curls. Signed P. Lely. 

Eed chalk on brown paper, heightened with white ; roy., 8J X 5§ in. 
Traditionally called a portrait of Charles II., but the identification is 
extremely doubtful. 
Purchased July, 1865. 

2. Portrait of John Greenhill. Profile head looking r., with long straight 
hair. 

Crayons on gray paper; roy., 10§ x 7& in. 

Greenhill was Lely's favourite pupil. Compare the portrait of him by himself, 
described in Vol. II., p. 246. 

Presented by Sir J. C. Robinson, November, 1857. Formerly in the Richard- 
son Collection. 

3. Portrait of Edmund Waller. Bust in three-quarter face turned 1. and 
looking 1., hair falling over the shoulders. Signed with monogram. 

Crayons on drab paper : roy., 11 X 7f in. 

Reproduced in the ' Hobby Horse,' January, 1892. 

Edmund Waller, poet, b. 1606, at Coleshill, entered Parliament very young 
and was distinguished for his eloquent speeches ; though Hampden's nephew, 
his sympathies were more with the king, and he suffered imprisonment and 
banishment, 1643-1651, for his share in a royalist plot; recalled 1651, he 
became a favourite with Charles II. and James II. ; famous in his day as a 
poet, for his smoothness, he survives only by a couple of slight songs ; d. 1687. 

Purchased July, 1884. Formerly in the Fountaine Collection. 

4. Portrait of the Duke of Lauderdale. Head in three-quarter face turned 
1., eyes looking full; hair or wig curling close round the face. Inscribed D. 
Lauderdale. 

Black chalk on brown paper, heightened with white; roy., 7J X 6| in. 

John Maitland, 1st Duke of Lauderdale, Scottish statesman, b. 1616, rose 
into prominence as a vehement partisan of the Covenant, but is more celebrated 
for his extraordinary ascendancy under Charles II., over whom he had 
gained great personal influence before the Restoration ; member of the famous 
' Cabal,' and noted for his brutal force, debauched character, and immense 
ability; made Duke of Lauderdale 1673; exercised practically supreme power 
in Scotland 1660-1680, but fell into disgrace under James II., and died the 
same year, 1682. The great collection of his papers is in the Manuscript 
Department of the Museum. 

Purchased August, 1874. Formerly in the Earl of Wicklow's collection. 

5. Portrait of the Duchess of Cleveland. Bust in three-quarter face turned 1. 

and looking 1. ; hair in ringlets, with a handkerchief over the head and tied 
loosely below the chin. Signed P. Lely. 

Crayons on brown paper ; roy., 9J X 7 in. 

Barbara Villiers (b. 1641, d. 1709), Countess of Castlemaine and Duchess of 
Cleveland; mistress of Charles II., and the paramount influence at his 
court from about 1660 to 1674 ; celebrated for extreme extravagance and 
numberless amours. 



6. Portrait of a Lady. Bust, turned 1., the face in profile looking 1. 
in the hair, which falls in ringlets. Signed P. Lely. 
Crayons on brown paper ; roy., 9| x 7J in. 
Formerly in the Lord Spencer and Esdaile Collections. 



ribbons 



54 



Drawings of the British School. 



7. Study for Portrait of the Countess of Northumberland. Three-quarter 
length figure of a lady moving from r. to 1. with r. hand extended ; the 
face in three-quarters, eyes turned full. 

Body-colour, black chalk and Indian-ink sketch, on brown paper; roy., 
6x5J in. 

Study for the portrait of Elizabeth Wriothesley, wife of the 11th Earl of 
Northumberland, engraved by T. Watson. 

Nos. 5-7 were purchased July, 1866. 

8. Study for Portrait of a Military Commander. Whole length, standing 
turned to front and 1., the face in three-quarters turned 1., wearing wig and 
armour, baton in 1. hand; helmet on a bank beside him 1. 

Black chalk sketch on brown paper, heightened with white ; roy., 1 1 X 7 J in. 
Presented by J. Deffett Francis, Esq., April, 1875. 

9. Portrait Sketch of the Artist's Son. Head in three-quarter face turned 1. 
and looking 1. Signed P. Lely ftcit, and inscribed Mr. John Lely. 

Black chalk ; roy., 5 x 4f in. 

10. Portrait Sketch of the Artist's Daughter. Head in profile, looking 1., 
with hair in ringlets. Signed P. Lely fecit, and inscribed Miss Lely. 

Black chalk; roy., 5 x 4£ in. 

Lely married an Englishwoman whose name is unknown. She had been his 
mistress, and the two children whose portraits are here described (Nos. 9 and 
10) were born before the marriage. They were both under age at his death. 
The girl, Anne, married a Mr. Frowd, and died in her first childbed ; the son, 
John, married a daughter of Sir John Knatchbull, Bart. 

Nos. 9 and 10 were purchased August, 1874. 

11. Ob. Portrait of a Child. Head in full face turned a little towards the r. 

Black chalk on warm gray paper, heightened with white ; roy., 12 x 11 in. 
Bev. Portrait of a Young Lady. Head in full face, turned slightly r., eyes 
full. 
Black chalk on warm gray paper, heightened with white. 
Purchased October, 1870. 

12. Portrait of Edward, Lord Littleton ; after Van Dyck. Head in three- 
quarter face turned r., eyes full ; wearing skull cap. 

Black chalk on blue-gray paper, heightened with white ; roy., 11 \ x 8| in. 
The whereabouts of the original portrait is unknown, though repetitions of it 
exist in the National Portrait Gallery, and in several private collections. 
Purchased May, 1885, at the Cheney sale. 

13. Portrait of a Lady. Three-quarter length, seated towards the 1., the face 
turned in three-quarters, eyes full ; hair in full ringlets : scallop shell in r. 
hand. 

Indian ink on gray paper ; roy., 14£ x 10 £ in. 
Purchased January, 1888. 

14. Portrait of a Lady. Head in three-quarter face turned r., eyes looking full ; 
pearl earrings and necklace. 

Black chalk on greenish-gray paper, heightened with white; roy., 11§ x 9 in. 
Purchased October, 1870. 

15. Satyr and Nymph. A satyr carrying off a nymph. 

Crayons; roy., 15J x 11& in. 

Bequeathed by R. Payne Knight, Esq., 1824. 

School of Lely. 

16. Album containing whole-length figure studies for a procession of Knights of 
the Carter, on a Feast Day of the Order. Similar studies are at Amsterdam 
and elsewhere. A print by Hollar (Parthey, No. 582) represents a procession 
held in 1671 ; probably Lely's studies were made on the same occasion. Van 
Dyck projected a scheme for decorating the Banqueting House at Whitehall 
with a similar procession, but it came to nothing ; his sketch for it is preserved 
at Belvoir Castle. 



Sir Peter Lely. — B. Leman. 



55 



(1) A Standard Bearer. 

(2) Usher op the Black Bod or Garter King op Arms, and a Pbebend 
op Windsor. Inscribed in Dutch King of Armes met een Satijne Mantel. 
Deeken van Windsor. 

In spite of the inscription, the first of these figures is more probably Black 
Bod than Garter King, as the rod in his hand is that belonging to the former 
office, which in 1671 was held by Sir Edward Carteret. Sir Edward Walker 
was Garter King. 

(3) George Morley, Bishop op Winchester. Inscribed Tlie Prelate (?) of the 

Order. 

(4) Two Prebends op Windsor. 

(5) Two Prebends op Windsor. 

(6) Two Prebends op Windsor. The figure at the 1. bears a considerable 
resemblance to Seth Ward, Bishop of Salisbury, who was a prebend of the 
order. 

(7) Two Prebends op Windsor. 

(8) Two Alms Knights. 

(9) Two Alms Knights. 

(10) Two Alms Knights. 

(11) Two Alms Knights. 

(12) An Alms Knight, Blind and Leaning on a Stick. 

(13) A Knight op the Garter. 

(14) A Knight op the Garter. 

All in black chalk on bluish paper, heightened with white. 

Nos. (1) (2) and (12) were purchased at the Verstolk sale, March, 1847, 
Nos. (3)— (11) July, 1862 (formerly in the Thane Collection), Nos. (13) and 
(14) at the Morant sale, May, 1847. 

After Lely. 

Portrait op the Artist. Bust turned 1., the face in three-quarters turned 1. 
and looking full ; with heavy wig, and with an order suspended by a chain on 
the breast. 

Oil colours on paper ; roy., 8 X 6| in. 

This study resembles the portrait engraved in mezzotint by I. Smith, but 
seems to be of later date ; the face is older and Lely wears an imperial, which 
does not appear in Smith's or other engraved portraits. 

Purchased June, 1881. 

Portrait op Charles II. Bust in an oval ; turned 1., the face in three-quarters 
turned 1., looking full ; heavy wig curling over armour. 

Indian ink ; oval; roy., 8f X 1\ in. 

This drawing was engraved in mezzotint and published by Edward Cooper, 
to whom it has been attributed ; but Cooper is not known to have himself 
engraved. 

Bequeathed by the Bev. C. M. Cracherode, 1799. 

LEMAN, R. (b. 1799, d. 1863). Amateur painter; worked in Norwich, 
sketching in company with Thomas Lound ; imitated the style of 
Henry Bright ; painted landscapes in water colours. 

1. View near Norwich. View on the low banks of a river, which comes into the 
1. foreground, with wharves and chimneys in the distance and trees r. 

Water-colour sketch ; roy., 3£ X 6 in. 
Purchased January, 1878. 

2. Mousehold Heath : Sunset. An orange sunset over a wide heath, with 

sandy road in the foreground and a group of figures by the roadside 1. 
Water-colour sketch ; roy., 10 X 8| in. 
Purchased May, 1859, at the Dawson Turner sale. 



56 



Drawings of the British School. 



LENS, Andrew Benjamin (worked about 1732-1770). Miniature 
painter ; third son of Bernard Lens the younger j exhibited with 
the Incorporated Society of Artists, 1 7G5— 1770. 

1. Portrait op Anne op Cleves; after Holbein. Half length in full face, 
wearing headdress and jewelled bodice : eyes looking 1. 

Indian-ink wash and stipple ; roy., 8| X 7 in. 
After the miniature at Lee, Kent. 

2. Portrait of Cardinal Wolsey; after Holbein. Bust in profile, looking 1. 
Signed with monogram. 

Indian-ink wash and stipple ; roy., 8J x 7 in. 

Nos. 1 and 2 were bequeathed by the ltev. 0. M. Oracherode, 1799. 

3. Portrait of J. Olaus; after Thomas Gibson. Head and shoulders, turned 
r. in three-quarter face, looking full ; in full wig. Inscribed /. Glaus. A. B. 
Lens fecit after Gibson 1732 (?). 

Red chalk ; imp., 20f x 12J in. 
Purchased June, 1881, at the Bull sale. 



LENS, Bernard, the elder (b. 1659, d. 1725). Mezzotint engraver and 
drawing master ; born in London ; pupil of his father, Bernard Lens ; 
drew for engravers, and engraved a number of mezzotints, both 
portraits and subject pictures ; made topographical sketches, and kept 
a drawing school in St. Paul's Churchyard with John Sturt the 
engraver. 

1. Bone-Well in Herefordshire. A spring flowing from under a rocky bank. 
Inscribed below A view of Bone-Well under BiclumU-Castle in Herefordshire 
which for 3 or 4 months in y e year is full of small frog bones. Brawn in 
August 1722 by Bernard Lens at y" well. 

Indian-ink wash and pen ; roy., 9§ X 13| in. 
Bequeathed by Sir Hans Sloane, Bart, 1753. 

[2-31] A set of English views. Inscribed with their titles on the lower margins. 

2. Ornamental Title. A cartouche, inscribed Severall Prospects taken by the Life 
and Brawn by Bernard Lens Sen 1 ' in y e Years 1730 and 1731. 

Indian-ink wash and pen ; roy., 9§ X 13| in. 
• 

3. A View of Sadler's Wells at Islington and the New Kiver Water House. 
Looking S., with St. Paul's in the distance. 

Indian-ink wash and pen ; roy., 9J X 13§ in. 

4„ A North View of the New River Water House at Islington. 
Indian-ink wash and pen; roy., 9f X \Z\ in. 

5. A North View of the City of London in Islington Road near the New 
River. 

Indian -ink wash and pen; roy., 9f X 13f in. 

6 A View of the New River Head and Water Mill at Islington near 
London. Looking s. towards the City. 

Indian-ink wash and pen ; roy., 9J x 13J in. 

7. A View of part of the New River Head and New Tunbridge Wells at 
Islington near London. 

Indian- ink wash and pen ; roy., 9§ X 13J in. 

8. A North -East View of the New River Water Mill at Islington. 
tO /<!»-<• W^Ofc , Indian-ink wash and pen; roy., 9£ x 13J in. 

9. A West Prospect of the New River Water House and Mill at Islington 

TAKEN NEAR THE ROAD THAT GOES TO GRAY'S INN, HoLBOHN. 

Indian-ink wash and pen ; roy., 9| x \Z\ in. 









Bernard Lens (the elder). 



57 



It 



1 1 



10. A South- West View of the New River Water Mill at Islington. 
Indian-ink wash and pen ; roy., 9§ X 13£ in. 

. , 11. The South-East Prospect of the New River Water House and Mill near 
i^XMmk Islington. 

^6 , Indian-ink wash and pen ; roy., 9§ X 13J in. 

/■ i 12. A North View of the City of London from the Bowling Green at Islington. 
I iK^L . Indian-ink wash and pen ; roy., 9| X 13£ in. 

13. A West View of the City of London from York Buildings Stairs. 

Indian-ink wash and pen ; roy., 9jj x 13£ in. 

14. A View of the Banqueting House across the Canal in St. James's 
Park. 

Indian-ink wash and pen ; roy., %\ X 13£ in. 

15. A Prospect of Lambeth Palace. From Millbank. 
Indian-ink wash and pen; roy., 9J x 13J in. 

16. A South View of Pancras near London. 

Indian-ink wash and pen ; roy., 9£ x 13£ in. 

17. A View of Totteridge in Hertfordshire, near Barnet. 

Indian-ink wash and pen ; roy., 9£ x 13| in. 

18. A View of the Town of Bridge-North, Malvern Hills at a distance, 
and the High Rock, from Wm. Whitmore Esqre's Red Deer Park, 
Shropshire. 

Indian-ink wash and pen ; roy., 9| x 13J in. 

19. A View of the Hermit's Cave and the Red Deer Park at the going 
into Apley, the Seat of Wm. Whitmore, Esqre., Shropshhie. 

Indian-ink wash and pen ; roy., 9£ x 13£ in. 

20. The Hermit's Cave cut out of the Rock on the hill, near the wall of 
the Red Deer Park at Apley, Shropshire. 

Indian-ink wash and pen; roy., 9£ X 13| in. 

21. A View of Wm. Whitmore Esqre's Ferry near Apley his Seat, near 
Bridge-North, Shropshire. 

Indian-ink wash and pen; roy., 9J x 13J in. 

22. A View of the Caer Caradock and Lawley from Kingsland near 
Shrewsbury. 

Indian-ink wash and pen ; roy., 9£ x 13J in. 

23. A Prospect of St. John's Church in Worcester and Malvern Hills at a 
distance. 

Indian-ink wash and pen ; roy., 9J X 13| in. 

24. A North Prospect of Ludlow Castle. 

Indian-ink wash and pen; roy., 9g x 13§ in. 

25. The West Pkospect of Ludlow Castle. 

Indian-ink wash and pen ; roy., 9^ x 13| in. 

26. A View upon the Severn near Bridge-North, Shropshire. 

Indian-ink wash and pen; roy., 9£ x 13j| in. 

27. A View of that Great Curiosity the Famous Burning Well at Brosley 
in Shropshire. 

Indian-ink wash and pen; roy., 9 J X 8J in. 

28. A Prospect of the Ruins of St. Joseph Chappel at Glastenbury at 
well in Somersetshire. 

Indian-ink wash and pen ; roy., 9£ X 13g in. 

29. A View of St. Michael's Church, commonly called the Torr, at Glas- 
tenbury from Mendip Hills five miles off Wells in Somersetshire. 

Indian-ink wash and pen ; roy., 9^ x 13§ in. 

30. A View of South Sea Castle upon the Shore. 

Indian-ink wash and pen ; roy., 9| X 13J in. 



58 



Drawings of the British School. 



31. A View of South Sea Castle at Portsmouth; the land side. 

Indian-ink wash and pen ; roy., 9§ x 13| in. 

[32-39] Views of Bath and Bristol. 

32. Ornamental Title. A cartouche inscribed Severall Views taken by the Life by 

Bernard Lens, 1718, 1719. 

Indian-ink wash and pen ; roy., 9J X 13| in. 

33. The West Prospect of the City of Bristol. 

Indian-ink wash and pen ; roy., 9£ X 13J in. 

34. A View of St. Vincent's Bock above the Hot Well near Bristol. 

Indian-ink wash and pen ; 9| X 13 £ in. 

35. The West Prospect of Bath Bridge. 

Indian-ink wash and pen ; roy., 9| x 13J in. 

36. An East View of Bath Bridge. 

Indian-ink wash and pen; roy., 9| X 13| in. 

37. An East View of the City of Bath. 

Indian-ink wash and pen ; roy., 9| x 13J in. 

38. A North View of the City of Bath. 

Indian-ink wash and pen ; roy., 9| x 13J in. 

39. A South View of the City of Bath. 

Indian-ink wash and pen ; roy., 9£ X 13J in. 
Nos. 2-39 were purchased April, 1853. 

40. A Prospect and Section of the Eddystone Lighthouse. A view of the 
lighthouse built by John Kudyerd, 1708, to replace Winstanley's building, 
destroyed in the great storm of 1703. The lighthouse is shown in section, 
and the different compartments lettered to correspond with an explanation 
below. Three men-of-war are near the rock. The whole is enclosed by a 
border of wreaths and trophies with the title above and dedication (to the 
Earl of Pembroke) below. Signed B. Lens delin. 

Indian-ink wash and pen ; 23 x 16 in. 

Engraved, with modifications and additions, by J. Sturt. Both print and 
drawing are placed with Devon Topography. 
Purchased June, 1862. 



LENS, Bernard, the younger (b. 1682, d. 1740). Miniature painter ; 
son of the preceding artist ; esteemed the best miniature painter of 
his day ; made good water-colour copies after Rubens and others ; 
limner to George I. and George II. ; well known and very successful 
as a drawing master ; published a drawing-book and etched a number 
of plates ; worked in London. 

1. Portrait of Sir Thomas Tipping. A young man on horseback, riding 

towards the 1., the face turned in three-quarters and looking full; wearing a 
sword, and witli pistols at the saddlebow. Signed and dated B. Lens, del. 1724. 
Inscribed (presumably by Richard Bull, the collector) Sir Thomas Tipping of 
Purgo in Essex, father of the Dowr. Lady Sandys. This picture, the finest Lens 
ever made, is in the Colin, of Lord Sandys. 
Indian ink ; roy., 16£ X 12J in. 

2. Portrait of Sir Thomas Tipping. The same portrait, in outline, with land- 
scape background and with added detail in the figure. Inscribed with notes of 
colour. Signed B. Lens. 

Pencil; roy., 17 x llgin. 

Sir Thomas Tipping, Bart., of Wheatfield and Pirgo, died 1718. The first of 
these drawings was therefore done after his death, and doubtless the second also ; 
both being, not studies for, but studies from the picture. 

Nos. 1 and 2 were purchased June, 1881, at the Bull sale. 



Bernard Lens (the younger). — Francis Le Piper. 



59 






3. The Crown worn bt George I. at his Coronation. Inscribed The Crown 
with which George the first, King of Great Brittain, was crowned y e 20 th of 
October Anno. 1714. The cap is of crimson velvet or purple. The welt of Ermine. 
The Circle and Barr* of beaten Gold. The Ornaments are only Silver and sett with 
Diamonds, the larger stones are Saphirs and Emerauds, and a few small Rubies. 
The Balass in y"' Cross in Front was given to y e Crown by K. James 2 d . 
The Ball on w c >' y e upper cross is fixed is an A que-marine, but y e loicer part is 
Gold enameled green. It is worn when y e King goes to Parliament, and is made 
new for every Coronation; it is kept in the Tower of London. Bern. Lens, fecit 
1731. 

Water colours and body colours, highly finished ; 15| x 15 in. 

4. Portrait of William III. in the Bobes op the Garter. Whole length, 
standing turned to front, the face turned slightly 1., eyes full ; r. elbow on a 
pedestal, 1. hand slightly raised; interior of classical building behind, with 
curtain 1. Inscribed on lower margin The King of Great Britain, Robed as 
Sovereign of y e most Noble Order of y e Garter. 

Water colours and body colours, highly finished ; (with margin) 23 x 15f in. 
Nos. 3 and 4 were purchased April, 1893, iu an album with similar drawings 
by Talman, Grisoni and others. 

Attributed to Bernard Lens, 

[5-8] Drawings in the Crace Collection of London Views, purchased Novomber, 
1880. 

5. A South View of St. Paul's, London, prom Bankside. 

Ind.an ink, tinted ; 8^ X 13 in. 
No. 282 in Portfolio VI. 

6. View of the City op Westminster from the Landing Place at Lambeth 

Palace, 1739. 

Indian ink ; 6 x 9 in. 
No. 41 in Portfolio IV. 

7. View op the Banqueting House at Whitehall and the Canal in St 

James's Park, 1746. 

Indian-ink wash and pen ; 8| X 12£ in. 
No. 41 iu Portfolio XII. 

8. Lambeth Palace, 1735. 

Indian-ink wash and pen ; 8J x 12ij in. 
No. 90 in Portfolio XXXV. 

LE PIPER or LE PIPRE, Francis (d. 1698). Amateur painter ; 
son of a Flemish gentleman settled in England ; travelled much on the 
Continent ; drew humorous subjects, caricatures and landscapes ; 
painted twelve small subjects from ' Hudibras ' very like the Bet 
by Hogarth ; late in life he modelled in wax. 

1. Beading the News. Half-length figure of a man, with spectacles on his nose, 

holding a candle and reading the London Gazette. 
Pen-and-ink sketch, washed with Indian ink ; roy., 6£ X 6§ in. 

2. Three on one mount, roy., viz. : — 

(a) Six Grotesque Heads. Six heads of old beggars. 

Pen and bistre ; 4 x 5J in. 

(b) Five Grotesque Heads of like character to the preceding. 

Pen and bistre, with bistre wash ; 2| x 6| in. 

(c) Two Heads. An old man wearing a hat turning round to speak to an old 

man wearing a skull cap. 
Indian ink ; 4J X 5| in. 
All bequeathed by Sir Hans Sloane, Bart., 1753. 



60 



Drawings of the British School. 



LESLIE, Charles Robert, R.A. (b. 1794, d. 1859). Painter; born in 
London of American parents ; educated in America ; came to London 
1811, and studied at the Royal Academy; elected A.R.A. 1821, 
R.A. 1826, Professor of Painting 1848-1852 ; noted for his success in 
humorous scenes from poets and novelists ; painted also portraits, 
and drew illustrations for books by Washington Irving and others ; 
his ' Life of Constable ' and ' Handbook for Young Painters ' are 
well known. 

1. Portrait op John Martin. Head and shoulders in full face and looking full. 

Signed and dated C. R. Leslie, 1822. 

Pencil and red and black chalk on drab paper; roy., 7§ X 5| in. 

For Martin's biography see under his name. He was thirty-three at the date 
of this portrait. 

Purchased July, 1859. 

2. Portrait Study op the Duke of Wellington. Whole length in a half 
profile, half back view, turned 1., holding hat in 1. hand ; in court dress. 

Water colours ; roy., 13 X 6§ in. 
Purchased April, 1860, at the artist's sale. 

3. Julian Peveril and Fenella : Illustration to Scott's ' Peveril of the 

Peak,' Chapter xviii. Julian roused from his reverie at the window by 
Fenella, who crouches by him 1. and touches his dress. 

Sepia; roy., 16J X 11£ in. 

Engraved by J. Goodyear, 1831. 

Purchased December, 1885. 

L'EVEQUE, H. (worked about 1812). Painter; best known for his views 
of battles in the Peninsular War, several of which were engraved. 

1. View of Fkascati. View looking over the town to the Alban Hills in the 
distance. Unfinished. 

Water colours ; 14 J x 21 in. 

Presented February, 1877; transferred from the Map Koom, September, 
1880. 



LEWIN, John William (worked about 1805-1822). Draughtsman and 
naturalist ; brother of the better known naturalist William Lewin ; 
settled in Paramatta, New South Wales ; published ' The Birds of 
New Holland,' London, 1808-1822. 

1. Towwaa, Native of Jarvis Bat, New South Wales. Whole-length, naked, 
bearded figure, holding a club in both hands before his face. 

Signed and dated J. W. Lewin, New South Wales, 1810. 
Water colours ; roy., lOf X 8£ in. 

2. Bluett, Native op Botany Bay, New South Wales. Whole-length figure, 

nude, except for a loin cloth, seen in profile turned 1., with club in 1. hand and 
ir in r. hand. Signed and dated J. W. Lewin, New South Wales, 1810. 
Water colours ; roy., 10$ X 8| in. 
Both presented by the executors of Sir Richard Owen, K.C.B., August, 1893. 



LEWIS, Charles George (b. 1808, d. 1880). Etcher and engraver in 
line and mezzotint ; son and pupil of F. C. Lewis ; best known by 
his engravings after Sir Edwin Landseer. 

1. The Eandom Shot ; after Landseer. Engraver's outliue drawing from the 
picture. Signed C. G. Lewis. 
Pencil; 20| x31£iu. 
The picture was painted 1848, engraved 1851. 



Charles G. Lewis. — Frederick C. Lewis. — George B. Lewis. 61 

2. Hawking in the Olden Time ; after Landseeb. Outline from the picture. 

Pencil ; 23§ X 29 in. 

The picture was painted 1832, engraved 1842. 

3. A Cover Hack ; after Landseer. Outline from the picture. 

Pencil ; 24£ X 31 in. 

The picture was painted 1848, engraved 1851. 

All purchased January, 1856, and placed with Landseer's works. 

]LEWIS, Frederick Christian (b. 1779, d. 1856). Engraver and land- 
scape painter ; born in London ; pupil of Stadler, the aquatint 
engraver, and engraved very skilfully in that style, especially 
imitations of drawings by old masters and by Sir T. Lawrence ; 
painted also landscapes in oil and water colours. 

1. A Country Eoad. A grass-bordered road leading between hedgerow elms to 
open fields beyond. 

Black chalk partly washed with Indian ink ; roy., 10§ X 14| in. 
Purchased July, 1859. 

LEWIS, George Robert (b. 1782, d. 1871). Painter; younger brother 
of the preceding ; studied at the Royal Academy, and exhibited 
there and at other galleries, portraits, landscapes, and figure subjects, 
1817—59, both in oil and water colours ; published some antiquarian 
works and illustrated Dibdin's ' Tour ' and other works. 

1. Portrait of C. H. B. Ker. Half length, standing, turned to front, leaning 
with 1. hand on a table, the face in three-quarters, nearly full, turned slightly 
r., eyes full ; at the 1. a wall with pictures, at the r. a window looking on a 
park. Signed G. B. Lewis pinxt., and inscribed H. B. Ker. 

Pencil, the head only stippled in water colours ; roy., 10f X 8 in. 

Charles Henry Bellenden Ker, b. about 1785, was well known as a legal 
reformer, did valuable work on various royal commissions, was prominent in the 
cause of popular education, promoted the foundation of schools of art, and was 
himself an amateur artist; d. 1871. 

Purchased December, 1867. 

2. Portrait of Sir John Leach. Half-length, turned to front, full face, with 
cheek resting on r. hand. Inscribed Sir John Leach and signed Geo. Ii. Lewis. 

Water-colour stipple ; roy., 10£ X 8g in. 

Sir John Leach, b. 1760 at Bedford, abandoned architecture for the law ; M.P. 
for Seaford 1806-16 ; became Master of the Kolls 1827 ; d. 1834. 
Purchased August, 1871. 

3. The Kue de Eichelieu. Two market women with great baskets carried on 

the back, another woman with a basket of eggs, and a man, resting and talking 
1. ; at the r. a woman arriving with a milk can, and other figures at a table in 
the background. 

Water colours ; roy., 3§ X 4J in. 

A similar scene was etched by Lewis for ' Etchings of the People of Franco 
and Germany,' Plate 16. 

4. At Ischl, Avstria. An undulating plateau with mountains in the distance ; 
in the foreground a procession of pilgrims halting ; beyond, the town of Ischl. 

Sepia ; roy., 4g x 7£ in. 

Nos. 3 and 4 were purchased December, 1868, at Mrs. Smith's sale. 

5. Ilfracombe. View looking down on a cove to the sea, with rocks exposed by 

the ebb, and a horse and cart and scattered figures on the beach. Inscribed 
Ilfracombe, G. E. Lewis. 

Water colours and body colours on buff paper ; roy., lOjj- X 14 -J in. 



62 



Drawings of the British School. 



6. Water-break, Ilfracombe. A hollow formed by the subsidence of the cliff 
above a cave, leaving two natural archways, through which appear the sea and 
coast beyond ; in the foreground rocks and chafing water, and a man at the r. 
stirring a pool with a stick. Signed G. R. Lewis. 

Water colours and body colours on buff paper ; roy., lOf X 14£ in. 

7. Valley op Eocks, Ltnton. A hillside of rocks and boulders, with steep green 
slopes below descending to the sta r., over which a watery sun is near his 
setting. Towards the r. quarryman resting on a path among the rocks. Signed 
G. R. Lewis. 

Water colours ; imp., 13 X 19£ in. 
Nos. 5-7 were purchased October, 1883. 



LEWIS, John Frederick, R.A. (b. 1805, d. 1876). Painter and 
etcher ; born in London ; eldest son of F. C Lewis ; painted and 
etched animal subjects almost exclusively till a visit to Spain, 
1832-4, which coloured and inspired his art for several years, many 
of his Spanish pictures being lithographed and engraved ; worked in 
Rome, Greece and the East 1839-51, adopting Oriental life and 
habits for a time ; returned to England 1851, but continued to 
paint Oriental subjects ; elected member of the Water Colour Society 
1829, president 1855, resigning 1858, after which year he painted 
only in oils; elected A.R.A. 1859, R.A. 1865. 

1. The Alhambra, Granada. Part of the exterior of the Alhambra, the towered 

walls rising at the r. above the steep side of the valley, on the further slope of 
which are the cypresses and palace of the Generalife ; beyond, the Sierra 
Nevada. Dated Alhambra, Oct. 5, 1832. 
Water colours and body colours on drab paper ; roy., 10£ X 14| in. 

2. Plaza de S. Francisco, Seville. View looking across the great square, with 

the tower of the Giralda rising beyond the further corner towards the 1. and 
the Cathedral partly seen above the roofs. 

Water colours and body colours on drab paper ; roy., 10£ x 14J in. 

Nos. 1 and 2 were purchased May, 1885, at the Cheney sale. 

3. Street Scene, Seville. A street corner ; from the 1. a man in bull-fighter's 
dress comes with a girl on either side of him, while a comrade seated drinking 
at a table 1. holds out a hand to detain him ; behind the group are two monks 
in a mule-carriage, one of them leaning forward to talk to a friar ; by the mule's 
head is a large dog, and a man stooping to pick up a basket ; at the r. men and 
women talking, and beyond, a street in perspective. Signed and dated /. F. 
Lewis, 1838. 

Chalks, water colours and body colours, on drab paper; roy., llf X 17| in. 

4. Study of a Spanish Girl. A young girl seated on a chair in the corner of a 
room, with shawl over her In ad, striped shirt, and bare feet, turned towards the 
1. but looking full from the corners of her eyes and smiling. 

Black chalk on drab paper, partly washed with water colours and body 
colours ; roy., 17| x lOf in. 

5. Houses at Granada. A row of old houses, with a creeper growing over them 1. 

Pencil and sepia on gray paper, heightened with white ; roy., lOf x 14£ in. 

6. At Corfu. View on a road leading from the foreground past trees and houses, 

beyond which, over the blue bay, appears the citadel of Corfu, and in the 
distance the mountains of Albania. Inscribed Corfu. J. F. L. July 14, 1840. 
Pencil and body colours on gray paper; roy., 10 X 14 in. 

7. An Eastern Dancing Girl. Whole-length figure in profile turned L, with 
face looking over the 1. shoulder, and hands raised. 

Black chalk sketch, touched with water colour, unfinished; roy., 17 X llg in. 
Nos. 3-7 were purchased July, 1889. 



J. F. Lewis. — R. Lindsay. — /. Linnell. — W. Linton. 



63 



8. Study of an Arab. A young; man in turban and burnous leaning with hia 
back against a wall, facing the front. 

Black and red chalk, touched with body colours, on drab paper ; roy., 
14J x 10§ in. 
Purchased November, 1889. 

9. Study or a Lion. A lion advancing towards the front with head turned 
towards the r. 

Signed and dated J. F. Lewis 1823. 
Black chalk ; roy., 11£ X 16| in. 
Purchased March, 1863. 

10. Study op a Lion. A lion lying down facing towards the 1. 

Water colours and body colours on gray paper; imp., llg x 16 J in. 
Purchased February, 1872. 

11. Italian Peasant with Goats. An Italian peasant sitting against a wall at 

the bottom of a flight of steps, with three goats beside him. 
Water colours and body colours ; roy., 10 X 14 in. 
Bequeathed by Henry Vaughan, Esq , August, 1900. 



LINDSAY, Robert (worked about 1782). 
unknown. 



Draughtsman ; biography 



1. A View of Bromley and Bow, Middlesex. A field with a haystack and a 
group of trees, and the hamlet beyond. Inscribed A view of Bromley and Bow, 
Middlesex. Robert Lindsay. June 24, 1782. 

Water-colour tint and pen ; roy., 9§ x 15| in. 

Purchased November, 1881. 

LINNELL, John (b. 1792, d. 1882). Painter and engraver; born in 
London ; studied at the Royal Academy, and under J ohn Varley ; 
painted portraits and landscapes, both in oils and water colours, but 
chiefly in the former medium ; a friend and disciple of Blake, who 
helped him in engraving ; from 1847 painted exclusively landscapes, 
often with figures ; worked chiefly in Surrey ; exhibited at the Royal 
Academy and elsewhere 1807-1881. 

1. Portrait of Charles Harbert, Esq. Bust of a young man. in three-quarter face 
turned r. and looking r. Signed and dated J. Linnell fee. 1826. 

Water colours over pencil ; roy., 9£ X 6| in. 
Purchased December, 1 885. 

2. Portrait of Mrs. Harbert. Half length, turned to 1., the face in three- 
quarters turned 1., eyes looking full, r. hand on breast ; hair in ringlets. 

Signed and dated J. Linnell fee. 1826. 
Water colours and pencil ; roy., 9| x 6 J in. 
Purchased May, 1890, at the Percy sale. 

LINTON, William (b. 1791, d. 1876). Landscape painter; born at 
Liverpool ; worked chiefly in London ; exhibited at the Royal 
Academy, the Society of British Artists (of which he was a member) 
and elsewhere, 1817-1871 ; painted English and Italian scenes, but 
is best known by his classical compositions; visited Greece, 1840; 
published 'The Scenery of Greece,' 1856, illustrated by himself, and 
'Ancient and Modern Colours,' 1852. 

1. The Lake of Nemi. A view between trees, looking across the deep hollow in 
which the lake lies to Castel Gaudolfo on the opposite bank, and the Campagna 
beyond. Inscribed Lucus et Speculum Dianas. Nemi, 1840. W. Linton. 

Water-colour sketch over black chalk on gray paper; roy., 12f x 16| in. 

Presented by R. Phene Spiers, E^q., November, 1901. 



64 



Drawings of the British School. 



LIOTARD, Jean Etienne (b. 1702, d. 1779). Painter and etcher, born 
at Geneva ; pupil of J. B. Masse in Paris ; became well known for 
portraits in crayons and miniatures ; travelled, 1738, to Italy, and 
thence (with two English noblemen) to Constantinople, where he 
worked four years and adopted Turkish costume ; afterwards for 
many years in London; returned to Switzerland 1776, and died at 
Geneva. 

1. Portrait of the Artist. Whole length, standing, turned to front and r., face 
in three-quarters turned r., eyes looking full ; with beard, turban, and long 
robe, palette in hand, r. hand on hip. 

Pencil sketch ; roy., 6| X 4£ in. 
Purchased June, 1881. 

2. Portrait of a Lady. Three-quarter length, standing, turned to front and 1., 

head in three-quarter face turned 1., eyes full ; wearing turban, and with hands 
clasped before her. 

Black, red and white chalk, on pale brown gray paper ; roy., 12 J X 8f in. 

Purchased August, 1880. 

LIVERSEEGE, Henry (b. 1803, d. 1832). Painter; born at Manches- 
ter, and worked in that town and in London ; exhibited at the Royal 
Academy and elsewhere 1828-32, chiefly subjects from Scott or 
Shakespeare. 

1. Don Quixote. Don Quixote, seen to the knees, standing in a panelled room, 
looking r. and pulling on his gloves ; his sword and Mambrino's helmet on a 
high-backed chair before him. 
Water colours ; roy., 12f X 9| in. 
Bequeathed by Henry Vaughan, Esq., August, 1900. 

LOAT, Samuel (worked about 1810-1832). Architectural draughtsman j 
worked in London ; exhibited drawings at the Royal Academy and at 
Suffolk Street, 1826-1832. 

1. King's Bench Prison, Interior Court, 1810. 
Water colours; 9f x 1G in. 

No. 46 in Portfolio XXXIV. of the Crace Collection of London Views, pur- 
chased November, 1880. 

LOCKER, Edward Hawke (b. 1777, d. 1849). Amateur painter; 
born in Kent; from 1819, secretary, and from 1824-1844, civil 
commissioner of Greenwich Hospital ; painted in water colours, and 
wrote miscellaneous works, among them being ' Memoirs of Naval 
Commanders,' with pictures from the Naval Gallery at Greenwich, 
the formation of which was almost entirely his work. 

1. Eural Landscape. A man and a woman, with a basket on her head, moving 
1. down a hollow road between trees ; beyond, wooded country with a cottage, 
and further off, a church. Signed and dated E. H. Locker, 1799. 

Water colours ; roy., 7§ X 10f in. 
Purchased August, 1875. 

2. Portrait of M. Garnerin. Head in profile, looking 1., with a balloon in the 

background. Enclosed in a frame border, with the French and English flags 
above and the motto (in reverse) Audax aereos gaudet tentare volatus, below 
M. Garnerin (also in reverse) and various aeronautic appliances. Inscribed on 
the paper mount M. Garnerin, Aeronaut. Edward Hawke Locker, Esqre., fecit. 

Pencil ; roy., 6g X 4J in. 

This drawing is prepared for the engraver, and a print doubtless exists, but is 
not in the Museum Collection. 



Edward H. Locker. — William Lodge. — David Loggan. 



65 



Andre Jacques Grarnerin, b. 1769, a well-known aeronaut, was taken prisoner 
by the English, 1793, and imprisoned for some time in Austria; after his release, 
he made many public balloon ascents and was the first to descend in a parachute, 
1797 ; repeated the performance in various countries of Northern Europe ; d. 
1823. 

Date of acquisition unknown. 

LODGE, William (b. 1649, d. 1689). Amateur draughtsman and 
engraver ; born at Leeds ; travelled to Venice, and drew and etched 
views in Italy, France and England, especially in Yorkshire ; painted 
some oil portraits and engraved a few. 

1. Whitehall from the Elver. Whitehall and adjacent buildings seen from 
across the Thames. Inscribed with corrections and with a part of the Banquet- 
ing Hall re-drawn at the upper r. corner. 

Pen-and-ink sketch; roy., 5£ X llf in. 

2. Lincoln's Inn Fields. View in the square looking east to Lincoln's Inn beyond. 
Inscribed Lincoln's Inn, London, by Mr. Lodge. 

Pen-and-ink sketch; roy., 8J X 19^ in. 

Lincoln's Inn Fields, formerly a waste, was laid out in walks (as shown in 
this drawing) by James I. Bacon sat on the commission, and Inigo Jones drew 
the plans. 

3. The Monument. View of Monument Yard, with a fishmonger's shop at the r. 
corner, and the pedestal of the monument in the centre. 

Pen-and-ink sketch; roy., 11£ x 16J in. 

This drawing represents the Monument as it appeared during its erection 
(1671-77). 
All purchased November, 1866. 

LOGGAN, David (b. 1635, d. about 1700). Draughtsman and engraver; 
born at Danzig ; said to have learnt engraving from S. Van der Passe 
in Denmark and from H. Hondius in Holland ; came to England 
about 1653 ; worked chiefly in Oxford and London ; well known by 
his elaborate and precise works, ' Oxonia Illustrata ' (1675) and 
1 Cantabrigia Illustrata' (1676-1690); drew portraits on vellum, 
many of which he engraved himself. 

1. Portrait of Charles II. Head and shoulders in three-quarter face turned 

r., eyes looking full, somewhat 1. ; lace collar, and satin dress. 
Pencil on vellum, highly finished ; oval ; roy., 3f x 3 in. 

2. Portrait of Thomas Barlow, Bishop of Lincoln. Head and shoulders ; in 

three-quarter face turned r., eyes looking full ; skull cap over long hair ; gown 
and bands. Inscribed Bp. Barlow. 

Pencil on vellum, highly finished ; roy., 3| X 3£ in. 

Engraved by the artist. 

Thomas Barlow, b. 1607 in Westmoreland, educated at Queen's College, 
Oxford; distinguished for extraordinary learning, but a trimmer in politics; 
made Bodley's librarian 1642, Provost of Queen's 1657 ; Bishop of Lincoln 
1675 ; d. 1691 ; well known in his day for ' Cases of Conscience,' and other 
works. 

3. Portrait of Dr. Kichard Allestree. Bust turned to front and r., the face 

in three-quarters turned r., eyes full ; skull cap ; gown and bands. Signed and 
dated D. Loggan delin. ; 1666. 

Pencil on vellum, highly finished ; oval ; roy., 5£ X 5 in. 

Engraved by the artist. 

llichard Allestree, royalist divine, b. 1619 in Shropshire, educated at Christ 
Church, fought for the King, and afterwards took up orders ; imprisoned for 
taking messages to Charles II. in exile, 1659 ; made canon of Christ Church 
1660, Provost of Eton 1665 ; d. 1681. 

Nos. 1-3 were bequeathed by the Kev. C. M. Cracherode, 1799. 
vol. in. F 



66 



Drawings of the British School. 



4. Portrait op Peter Mews, Bishop of Winchester. Bust turned to front 
and r., the face in three-quarters turned r., eyes full ; wearing skull cap. 

Pencil on vellum, highly finished ; oval; roy., 4$ X 3| in. 

Engraved by the artist. 

Peter Mews, b. 1619 in Dorsetshire, scholar of St. John's College, Oxford, 
fought with the Royalists and retired to Holland 1648 ; returned to England at 
the Restoration ; elected president of his college, 1667 ; vice-chancellor of the 
University, 1669 ; Bishop of Bath and Wells, 1672 ; Bishop of Winchester, 1684 ; 
though a strong loyalist, he resisted James II. in his dispute with Magdalen 
College and supported the seven bishops ; d. 1706. 

5. Portrait of a Gentleman. Bust turned to front and r., the face in three- 
quarters turned r., eyes full; long wig. Signed and dated D. L. fecit, 1674. 

Pencil on vellum, highly finished ; oval ; roy., 5 X 4 in. 
Nos. 4 and 5 were purchased August, 1854. 

6. Portrait of Ralph Cudworth. Bust turned to front and r., the face in three- 

quarters turned r., eyes looking full ; gown and bands. Signed and dated 1). 
Loggan delin., 1666. 

Pencil on vellum, highly finished ; oval ; roy., 5£ X 4£ in. 

Ralph Cudworth, philosopher and divine, b. 1617, was successively fellow of 
Emmanuel College, Cambridge, master of Clare and master of Christ's ; regius 
professor of Hebrew from 1645 till his death ; a leader of the Cambridge 
Platonists ; remembered in the history of philosophy by his 'Intellectual 
System ' ; d. 1688. A later portrait by Loggan, dated 1684, was engraved by 
Vertue. 

Purchased May, 1857. 

7. Portrait of a Divine. Bust of a young divine, turned to front, the face in 

three- quarters turned r., eyes looking full; long curling hair, gown and bands. 
At the 1., the Bible and a vase of flowers, at the r., a bust of the Virgin ; both 
apparently added by another hand. Signed and dated D. L. fecit 1677. 

Pencil on vellum, highly finished ; oval ; roy., 5^ x 4£ in. 

Purchased October, 1870. 

8. Portrait op Mrs. Baily. Bust of a lady in widow's weeds, turned to front 

and 1., the face in three-quarters turned 1., eyes looking r. 
Pencil on vellum, highly finished ; oval; roy., 5| x 4jf in. 
Purchased November, 1881. 

LONG, W. (worked about 1844). Draughtsman; possibly to be identified 
with William Long, who worked in London and exhibited historical 
pictures, 1821-1855. 

1. View and Plan op the Old Charter House and Ground, 1506. Copied in 
1844 from a drawing in the possession of the Society of Antiquaries. 
Pen-and-ink and water-colour tint ; 51 x 26 in. 

No. 9 in Portfolio XXVI. of Crace Collection of London Views, purchased 
November, 1880. 



LONG CROFT, Thomas (worked about 
draughtsman ; worked in India. 



1786-1793). Topographical 



1. View at Burrokerree, Ghautha. A river with rocky banks, bordered by 
trees, under a range of wooded hills ; a native in the r. foreground seated 
beneath a tree fishing. Inscribed on the margin, View at Burrokerree Ghautha, 
near the northern mountains on the Golah River, which falls into the Gogru. 

Indian ink ; atl., 16£ X 24 in. 

2. Begum Musjied, Delhi. A mosque on rising ground, fenced by a wall, with a 
field in the r. foreground and men working in it. Inscribed on the margin, Place 
of worship called Begum Musjied, situated at the Eastern Angle of Delhi, near the 
stone icall, — drawn 1793. 

Indian ink ; atl., 16J X 23£ in. 



T. Longcroft.—J. Lonsdale. — P. J. de Loutlierhourgh. 67 



3. Tomb at Kohilcund. A large monument with domes and minarets at a little 
distance r. ; a large tree in the 1. foreground. Inscribed on the margin, The 
Tomb of Ali Mahommed Elian's Begum in Bohilcund ; a bare tree in the fore- 
ground. 

Indian ink ; atl., 13£ x 23 in. 

4. Benares from the Eiver. View of the town with a great temple 1., and many 
flights of steps leading down to the river. 

Pen-and-ink sketch, with Indian-ink wash; atl., 11 J X 34J in. 
All presented by Miss Twining, April, 1877. 

LONSDALE, James (b. 1777, d. 1839). Portrait painter; born at 
Lancaster ; pupil in London of Romney, and student at the Royal 
Academy ; well known as a portrait painter ; original member of the 
Society of British Artists. 

1. Portrait of James Northcote, E.A. Head in profile looking 1., wearing a 
cap. Inscribed (presumably by the sitter) James Northcote. Signed and dated, 
Drawn from life by James Lonsdale, July 9, 1830. 

Black and red chalk on gray paper, heightened witli white ; roy., 13 x 9J in. 

For Northcote's biography see under Harlow, No. 5 (Vol. II., p. 268). 

Purchased Oct., 1887. 



LOUTHERBOURGH, Philip James de, RA. (b. 1740, d. 1812). 
Painter and etcher ; born at Fulda, of a Polish family ; pupil of his 
father and J. H. Tischbein, and later, in Paris, of Carle Vanloo and 
Casanova; gained a name in Paris from 1763 for landscapes and 
battle pieces; came to England 1771 ; designed scenery for Garrick ; 
elected A.R.A. 1780, R.A. 1781 ; exhibited at the Royal Academy 
1772-1814 ; drew a number of illustrations for books, including 
Macklin's ' Bible ' ; his pictures of naval battles are well known 
through engravings. 

1. Landscape with Figures; in the manner of Berchem. Peasants about to 
ford a stream ; a man leading a horse followed by a girl on a mule, with sheep 
and a dog, approach the stream in the foreground ; a beggar sits r., and a man 
with mules and cattle comes along a road 1. Signed and dated Louterbourg 
1761. 

Sepia, heightened with white; roy., 9| X 13 in. 

2. Landscape with Figures; in the manner 'of Berchem. A herdsman under 
a tree calling to his dog ; his wife and boy sit on the ground beside him and 
cattle are grouped near ; in the distance, fields with other cattle and herdsmen. 

Sepia, heightened with white ; roy., 9 x 12£ in. 

Nos. 1 and 2 were bequeathed by B. Payne Knight,, Esq., 1824. 

3. Baiders. A group of soldiers, some on horseback, examining booty, while 

others drive sheep down from the hills behind, followed by a party with a 
loaded wagon. 

Indian-ink wash and pen ; roy., 8| x 12 J in. 

Purchased July, 1859. 

4. Landscape with Cattle. A herdsman, accompanied by his wife, with a baby 

in a basket on her back, driving sheep and cattle down a rough hill side from 1. 
to r. Signed and dated Louterbourg 1766. 

Indian ink over black chalk ; roy., 9x14 in. 

Purchased August, 1861. 

5. A Sheet of Studies. Five sketches of feluccas and other Mediterranean 
vessels ; a sailor smoking ; three men's heads and a girl's head ; a boy, etc. 

Pen-and-ink, with some Indian-ink wash ; roy., 9J X 13J in. 
Purchased Mav, 1854. 

F 2 



68 



Drawings of (he British School. 



6. Two on one mount, roy., v'z. : — 

(a) Portkait Study of a Satlor. Head in three-quarter face looking r., the 

body lightly pencilled in. Inscribed . . . tian Romonde [ ? j. 
Water colours and pencil ; 6§ x 4 J in. 

(b) Portrait Study of a Sailor. Head in full face. Inscribed Robt 

Williams, boatsivaiu's mate, Venerable ; once sailed with Capt. Winthorpe. 
Water colours ; 6f x 4§ in. 

7. Two on one mount, roy., viz. : — 

(a) Portrait Study of a Sailor. Head in full face. Inscribed Tliomas 
Ramsay 5 feet 8 inches 36 — one of the Seamen who boarded the San Josef. 

Water colours ; 6f X 4g in. 

(b) Portrait Study of a Sailor. Head in three-quarter face turned 1. ; in an 

oval, with a boatswain's whistle below. Inscribed Cresse. Boatswain. 
Venrable. 1797, and boatswain's call: silver. 

Water colours ; 6| x 4§ in. 

These are presumably studies for the picture of Duncan's victory over 
the Dutch at Camperdown, engraved by J. Fittler and published 1801. 
Duncan's ship was the ' Venerable.' One of the seamen, Ramsay, seems to 
have taken part also in the battle off Cape St. Vincent fought in the spring 
of the same year, 1797. 

Nos. 6 and 7 were presented by J. Deffett Francis, Esq., March, 1882. 

8. View of Shanklin Chine. Rough crags divided by a chasm 1., above which is 
a cottage ; a man and children in the foreground !., and a woman with a baby 
coming down from the cottage. Signed and dated on the lower margin. P. I. 
De Loutherbourg, R. A. del. 1794. View of Shanhlin Chine, Isle of Wight. 

Pen and sepia, washed with Indian ink and sepia ; roy., 9,J x 13| in. 
Purchased October, 1865. 

9. Shanklin Chine. The first sketch for the preceding drawing. Without the 

sky and without the figures. 

Pen and sepia, washed with Indian ink ; roy., 5 X 8 in. 

10. Black Gang Chine. Tbe cliffs, with the sea 1. 

Pen and sepia, washed with Indian ink ; roy., 5x8 in. 

11. The Needles. The Needles from the W., with fishing boats in the foreground. 

Pen and sepia, washed with Indian ink ; roy., 5 x 7f in. 

12. West Cowes. View of tho bay, with shipping, and part of the fort r. 

Pen and sepia, washed with Indian ink ; roy., 5 x 7| in. 

13. View on the Coast. View from the sea, with a smack and boats in the surf, of 
a low coast with hills beyond. 

Pen and sepia, washed with Indian ink ; roy., 5x8 in. 

14. Three on one mount, roy., viz. : — 

(a) Cowes Castle. The castle seen from the shore, with a few trees at the back 
of it and the bay r. 

Pen and sepia, washed with Indian ink ; 3x4J in. 

(b) Cottages by the Shore. With a man moving logs of drift wood in the 

foreground, and other men on the high bank 1. 
Pen and sepia, washed with Indian ink ; 3 X 4f in. 

(c) A Watermill. A watermill in a valley, with a road coming over a bridge 

in the foreground. 

Pen and sepia, washed with Indian ink ; 3 x 4| in. 

15 Two on one mount, roy., viz. : — 

(a) Study of Rocks. Rocks on a cliff face. 

Pen and sepia, wabhed with Indian ink ; 5 X 3 in. 

(6) Study of a Thatched Shed, Eastbourne. Inscribed Eastburn. 
Pen and sepia, washed with Indian ink ; 5 x 3f in. 




Pliilip James de Loutherbourgh. 



69 



16. A Castle on the Coast. A castle r. on a low coast, with the sea and ships 1. 

Pen and sepia, washed with Indian ink ; roy., 5 X 8 in. 
Nos. 9-16 were purchased February, 1880, at the White sale. 

17. Design for Illustration to Bowyek's Edition of Hume's ' England.' The 
House of Lancaster ; allegorical design, with helmet, arms and cannon lying on 
a rock among red roses. The Genius of War in a thundercloud above. Signed 
and dated P. J. De Loutherbourg R.A. del. and inv. 

Pen-and-ink, wi'h Indian-ink and slight water-colourwash; roy., 12J x 9J in. 
Engraved by J. Landseer, and published in Bowyer's 'Eugland,' 1805. 
Purchased November, 1897. 

18. Design for one of the Titles to ' Nelson's Victories.' Allegorical design. 
Britannia standing by a bust of George III., over whom the sun breaks from 
clouds, and pointing to the British lion in an attitude of defiant rage upon a 
foam-surrounded rock. Signed P. I. de Loutherbourg R.A. inv. and del. 

Pen and sepia, washed with Indian ink ; imp., 19| x 15 J in. 

19. Design for one of the Titles to 'Nelson's Victories.' A bust of Nelson 
on a monument in front of which the British lion is striking the Gallic cock, 
among a de'bris of anchors, cannons, sails, etc. ; behind, 1., a ship exploding, and 
r., a column with naval trophies. Signed P. I. de Loutherburg. 

Pen and sepia over pencil, washed with Indian ink ; imp., 2UJ X 15 in. 
Nos. 18 and 19 were purchased February, 1880, at the White sale. 

20. Album containing studies of military and naval costume, shipping, etc., chiefly 
for the artist's pictures of 'The Siege of Valenciennes' (1793), and 'Lord 
Howe's Victory ' (1791). 

(1) Eough Sketch of a Sloop ; with a note in MS. on the colour of the sea. 

Pencil. 

Presented by J. Deffett Francis, Esq., October, 1870. 

(2) («) Head of an Officer. 

Ked chalk. 

(b) Head of an Officer. 

Pen-and-ink and water colours. 

(c) Head of General Hulse. Inscribed General Hidse's hat and 
feather. 

Pen-and-ink and water colours. 

Sir Samuel Hulse (b. 1747, d. 1£37), commanded the 1st battalion of 
the 1st Foot Guards at the siege of Valenciennes. 

(d) Head of a Grenadier. 

Indian ink and pen. 

(3) (a) Uniform of Hanoverian Infantry. Back view of a private. In- 

scribed Hanoverian Infantry. 
Pen-and-ink and water colours. 

(6) Uniform of Prince Ernest. Back view. Inscribed H.R.H. Prince 
Ernest. 

Pen-and-ink and water colours. 

Priuce Ernest (b. 1771, d. 1851), became Duke of Cumberland 1799, 
King of Hanover 1837. 

(c) Uniform of the Hungarian Guard. Inscribed La Garde noble 
Hongroise en gala a pied. 

Water colours. 

(d) Uniform of Royal Artillery. Inscribed R. Artillery, undress, white 
caps, blue letters and edges. 

Pen-and-ink and water colours. 

(e) Uniform of Highlander. Inscribed Highlander, Road from Ostcnd 
to Torhout. 

Pen-anl-ink and water colours. 



(4) («) Austrian Driver. 
Pen-and-ink. 



Inscribed Austrian Driver, dress all while. 



70 



Drawings of the British School. 



(ft) A Light Dragoon. Back view. 
Pen-and-ink and water colours. 



Inscribed Light Dragoon. 



(<j) A. Drummer. Inscribed English Drummer. 
Pen-and-ink and water colours. 

(d) Esterhazy Hussar. Inscribed Esterhazy Hussar. 

Pen-and-ink and water colours. 

(e) Artillerymen Working their Guns. 

Pencil and pen-and-ink. 

(5) (a) Ob. A Group of Cossacks. Inscribed Russian Cossaques, and with 
memoranda of the colours of their uniform. 
Pen-and-ink. 

Bev. Studies of Accoutrements. 
Pen-and-ink. 

(b) Ob. Sheet of Studies. A scene in camp ; a cavalry soldier ; a 
Cossack and a bandsman talking, etc. 

Pen-and-ink ; pen-and-ink and water colours. 

Rev. Troops in Boats on a Kiver ; and studies of uniforms. 
Pen-and-ink. 

Inscribed Turcoman. 



Back view. 



(6) (a) Turcoman Soldier. 

Pen-and-ink. 

(6) Infantry Soldier. 
Pen-and-ink. 

(c) Ob. Four Heads of Soldiers. 
Sepia. 

Rev. Four similar Heads. 
Sepia. 

(7) (a) Soldier in Green Uniform. 

Pen-and-ink and water colours. 

(6) Austrian Officer. Back view. Inscribed Regt. Stuart. Imperial. 
Nieuport. Uniform, white faced with crimson. 
Pen-and-ink and water colours. 



(c) Three Men of the Koyal Artillery. 
Pen-and-ink and water colours. 

(<i) Austrian Grenadier. Inscribed Imperial Grenadier. 
Pen-and-ink and water colours. 

(e) An Austrian Soldier. Back and front view. 
Pen-and-ink and water colours. 

(8) (a) Studies of Sword Handles. 

Pen-and-ink and water colours. 



Inscribed R. Artillery. 
Villerspol. 
Inscribed Imperial. 



(o) 



Ammunition Pouch. 
Pen-and-ink and water colours. 



(c) Straps for Bayonet and Pouch. 
Pen-aud ink and water colours. 

(9) (a) Uniform of the Duke of York. 
Uniform, General, etc. 
Pen-and-ink and water colours. 



Inscribed Duke of York's full 



(b) Uniform of General Hulse. Inscribed with memoranda. 

Pen-and-ink and water colours. 

(c) Hat of the Duke of York ; Sword of Colonel Congrieve ; 
Officer's Top Boots. Inscribed with memoranda. 

Pen-and-ink and water colours. 

(d) Ob. Grenadier's Cap, Fusilier's Pouch, etc. 

Pen-and-ink and water colours. 

Rev. Straps worn by Hussars. 
Pen-and-ink and water colours. 



Philip James cle Loutherbourgh. 



71 



(10) (a) A DWAHF, SEEN FROM BEHIND. 

Indian ink. 

(b) Head of a Soldier. 

Indian ink. 

(c) Three Heads of Grenadiers. 

Pencil and Indian ink. 

(11) (a) Caps worn by the Yorkshire Buffs, Grenadiers, etc. Inscribed 

with memoranda. 
Pencil. 

(b) Caps worn by Glamorgan Militia, Light Infantry, eto. 
Pencil. 

(12) Plan of an Action. 

Pen-and-ink. 

(13) (a) Sword Hilts. 

Indian ink. 

(b) Artillerymen. 

Pen-and-ink. 

(c) Study of a Uniform. 

Peu-and-iuk. 

(d) Water-barrel. 

Water colours. 

(14) (o) Study of a Uniform. Inscribed Minorca. Their accoutrements, 

caps, breeches, &c, are in every respect as the Guards. 

(6) Studies of Sword-hilts. Inscribed with memoranda in French. 
Pen-and-ink and water colours. 

(c) Facings of Uniforms of the 58th, 54th, and 28th Regiments. 

Water colours. 

(d) Study of Pocket-flap. 

Pencil and water colours. 

(15) (a) Hessian Baggage Horse. Inscribed Hessian Baggage Horse, Rosselaer. 

Pen-and-ink. 

(b) Cavalry Waggon. Below, basket to defend the shoulders of the 
horse. 

Pen-and-ink. 

(c) HANOVERrAN AND HESSIAN BAGGAGE HORSES. 

Pen-and-ink. 

(rf) A Mule. Inscribed Duke of York's Mules, Rousselaer. 
Pen-and-ink and water colours. 

(e) A Stirrup. Inscribed Steel. 

Indian ink. 

(/) A Saddle. Inscribed Officer of Artillery. 
Pen-and-ink and water colours. 

(16) (a) Horse and Field Gun. 

Pen-and-ink. 

(6) Field Gun. Inscribed with memorandum. 
Pen-and-ink. 

(c) Two Studies of a Gun on a Truck. 
Pen-and-ink and Indian ink. 

(17) Studies of Gun-Carriages. 

Pencil. 

(18) Studies of Guns and their Fittings. Inscribed with memoranda. 

Pen-and-ink. 



72 



Drawings of the British School. 



(19) (a) Field Guns. 

Pen-and-ink. 

(b) Horses and Gun. 
Pen-and-ink. 

(20) (a) Austrian Ammunition Waggon. Inscribed Imperial Ammunition 

Waggon, Tournay. 
Indian-ink wash and pen. 

(b) Shell Cart. Inscribed Shell cart. Imperial. Quesnoy. 
Indian-ink wash and pen. 

(21) (a) (b) (c) (d) Heads of Sailors. 

Water colours. 

(22) (a) (6) (c) Heads of Sailors. 

Water colours. 

(d) Two Young Men Standing Together. 

Water colours. 

(e) A Young Man Leaning against a Wall. 

Water colours. 

(23) (a) A Man and a Boy. 

Pen-and-ink and water colours. 

(b) A Man Holding a Piece of Cloth. 

Water colours. 

(c) A Man Stooping. 

Pen-and-ink and water colours. 

(d) A Man Standing with Arms Folded. 

Water colours. 

(e) A Young Man Seated. 

Indian ink and pen. 

(/) A Man with his Hands in his Pockets. 
Water colours. 

(24) (a) A Man Standing in Profile. 

Water colours. 

(b) A Negro, by the Sea Shore. 

Water colours. 

(c) A Man in a Broad Hat. 

Water colours. 

(d) A Man holding a Bope. 

Pen-and-ink and water colours. 

(e) A Man with a Pigtail. 

Water colours. 

(/) A Sailor. 

Water colours. 

(25) (a) (6) (c) (d) (e) (/) Studies of Sailors. 

Pen-and-ink and water colours. 

(26) (a) Two Men, one Leaning against a Wall. 

Pen-and-ink. 

(b) A Group Looking over a Wall. 

Pen-and-ink. 

(c) Fishermen. 

Pen-and-ink and Indian-ink wash. 

(27) (a) Officer's Hat with Cockade. 

Pen-and-ink and pencil. 

(6) Officer's Hat with Cockade. 
Indian ink and pencil. 



PJdlip James de Loutherbourgh. 



73 



(28) (a) Uniforms of Warrant Officer, Master's Mate, and Midshipman. 

Pen-and-ink and water colours. 

(6) Uniform of a Lieutenant in the Navy. Inscribed with notes of 
colour, etc. 
Pen-and-ink. 

(29) (a) Musket slung on the Shoulder. 

Pen-and-ink and water colours. 

(b) Musket. 

Pen-and-ink and water colours. 

(30) (a) (b) (c) (d) (e) Studies of Natal Guns. 

Indian-ink or water-colour wash and pen. 

(31) (a) (b) (c) (d) (e) Studies of Flags and Pennants. 

Water colours. 

(32) (a) (6) (c) (d) Studies of Ship's Rigging. 

Pen-and-ink, with water-colour or Indian-ink wash. 

(33) (a) Truck of a Mast. 

Pen-and-ink and water colours. 

(b) Bowsprit. 

Pen-and-ink and water colours. 

(34) (a) (b) Yards and Square-sails. 

Pen-and-ink and water colours. 

(35) (a) Bow of a Three-Decker. 

Pen-and-rik and water colours. 

(b) H.M.S. 'Venerable' (Duncan's flagship at the battle of Camper- 
down). Inscribed Venerable. 
Pen-and-ink and water colours. 

(36) (a) Cathead of a Man-of-Wab. 

Pen-and-ink and water colours. 

(b) Stern of the ' Hercules.' 

Pen-and-ink and water colours. 

(c) Bow and Figurehead of a Man-of-War; two studies. 

Pen-and-ink and water colours. 

(37) (a) Stern View of a Three-Decker. 

Indian ink. 

(6) Stern of a Three-Decker. 
Indian ink. 

(38) (a) Head of a Sailor; Stern of a French Boat. 

Indian ink and water colours. 

(6) Hull of a Ship. 
Indian ink. 

(c) Bow of a Ship. 
Pen-and-ink. 

(d) Stern of a Ship; and a Cutter. 

Pen-and-ink. 

(e) Bow of a Ship. 

Indian-ink wash and pen. 

(39) (a) A Brig. 

Indian-ink wash and pen. 

(6) H.M.S. ' Queen Charlotte,' from the Bow. Inscribed Charlotte 
(one of the largest ships in Howe's victory off Ushant). 
Indian-ink wash and pen. 



74 



Drawings of the British School, 



(40) (a) A Hulk, pitted up with Temporary Masts. Inscribed Sheer hulk. 

Indian-ink wash and pen. 

(b) A Dismasted Three-Decker. 
Indian-ink wash and pen. 

(41) (a) Yards of a Man-of-War; and Cathead. Inscribed Queen Char- 

lotte's Cathead. 

Sepia wash and pen. 
(6) and (c) Studies of Yards and Kigging. 

Indian-ink wash and pen. 

(42) (a) Mizen-top of a Ship ; and Studies of the ' Main Chain and Dead 

Eye' of the 'Majestic' and 'Queen Charlotte.' 
Indian-ink wash and pen. 

(b) Main Sail and Boom. 

Indian-ink wash and pen. 

(43) (a) (b) (c) (d) (e) Studies of Sails and Rigging. 

Indian-ink wash and pen. 

(44) (a) (b) (c) Studies of Topsails. 

Indian-ink and water-colour wash and pen. 

(45) (a) (b) (c) Studies of Square-sails. 

Sepia and Indian-ink wash and pen, 

(46) (a) (b) (c) (d) (e) Studies of Sails and Eigging. 

Sepia and Indian-ink wash and pen. 

(47) (a) (6) (c) Studies of Sails and Rigging. 

Sepia and Indian-ink wash and pen. 

(48) (a) Hurst Castle; and Two Studies of a Cutter. Inscribed Hurst 

Castle, Hants. 
Water colours. 

(b) Sailing Boats at Sea. 
- Water colours. 

(c) A Boat with Sails furled and a Man in the Stern. 

Pen-and-ink and water colours. 

(d) A Boat with Two Sails. 

Water colours. 

(e) A Mediterranean Vessel; after a Print. 

Pen-and-ink. 

(49) (a) (b) (c) (d) (e) (/) Studies of Shipping. 

Pen-aud-ink with Indian-ink wash. 

(50) (a) A Ship of the Line; Two Studies. 

Pen-and ink. 

(b) Ob. Feluccas ; and a Sketch of a Cabtle. 
Pen-and-ink. 

Rev. Studies of Ships. 
Pen-and-ink. 

(51) (a) Plan of Lord Howe's Action off Ushant, etc. With memoranda. 

Pen-and-ink and water colours. 

(b) Plan of Action at a later stage. 
Pen-and-ink and water colours. 

(52) (a) Man-of-War at a Port. 

Pen-and-ink. 

(b) Hulks in Port. 

Pen-and-ink and Indian-ink wash. 

(c) Feluccas. 

Pen-and-ink and pencil. 



Philip James de Loutherbourgh. 



75 



(53) (a) The Battle of the Nile; sketch for the picture by the artist. 

Pen-and-ink and Indian-ink wash. 

(fe) A Port in a Storm. 
Sepia. 

(54) (a) A Fleet of Men-of-Wab. 

Pen-and-ink. 

(&) Shipping at a Mediterranean Port. 
Pen-and-ink. 

(c) Fight between a Man-of-War and an Algerine Pirate Galley. 
Indian ink. 

(55) (a) Fishing Boats in the Channel. 

Indian-ink wash and pen. 

(b) A Wreck in a Storm. 

Indian-ink wash and pen. 

(c) Shipping in a Eiver. 

Indian-ink wash and pen. 

(56) (a) (b) (c) Studies of Shipping. 

Pen-and-ink. 

(57) (a) (6) (c) (d) Studies of Shipping. 

Pen-and-ink and Indian ink. 

(58) (a) (b) (c) (d) (e) (f) Studies of Shipping. 

Pen-and-ink and Indian-ink wash. 

(59) (a) (b) (c) (d) Studies of Shipping. 

Pen-and-ink with Indian-ink wash. 

(60) (a) (6) (c) (d) (e) Studies of Line-of-Battle Ships. 

Pen-and-ink. 

(61) (a) (b) (c) (d) Studies of Vessels in a Rough Sea. 

Pen-and-ink and Indian ink. 

(62) (a) Fishing Boat. 

Pen-and-ink. 



(63) (a) 
(&) 

(<0 



(6) Study of the same Boat. 
Indian-ink wash and pen. 

L 'Amerkjue. 
Pen-and-ink and water colours. 



; Le Juste.' 
Pen-and-ink and water colourB. 

; L'Impetueux.' 
Pen-and-ink and water colours. 



(d) 'Le Sans Pareil.' 

Pen-and-ink and water colours. 

(e) Three Ships closely engaged. 

Pen-and-ink and water colours. 

(/) ' Le Northumberland.' 

Pen-and-ink and water colours. 

These sketches (inscribed with the names of the respective ships) 
are of French men-of-war taken or destroyed in Howe's victory of the 
1st of June, 1794. 

(64) (a) (6) (c) Three Studies of the Queen's Launch. 

Indian-ink wash and pen. 

(65) (a) (6) Studies of Shipping. 

Indian ink. 

(66) (a) (6) (c) (d) (e) Studies of Jolly-boats. 

Water colours and pen. 



76 



Drawings of the British School. 



(67) (a) Studies of Shipping. 

Indian-ink wash and pen. 

(b) Hulks of Men-of-war. 
Indian-ink wash and pen. 

(G8) (a) A Fishing Boat Ashoee. 
Indian-ink wash and pen. 

(b) Scene at a Mediterranean Port. 

Pen-and-ink. 

(c) Ob. Windlasses. 

Indian-ink wash and pen. 
Bev. Fishing Boats at Sea. 
Pencil and Indian ink. 

(69) (a) Bathing Shed and Machine. 

Pen-and-ink and water colours. 

(b) (c) Beached Ships. 

Pen-and-ink and water colours. 

(d) Gangway of a Man-of-war. 

Pen-and-ink and water colours. 

(70) (a) (b) Shipping in Harbour. 

Pen-and-ink. 

(71) (a) An English Man-of-war. 

Pen-and-ink and water colours. 



(b) Crossing a River. 
Pen-and-ink. 



A boat, full of people, on wheels. 



(72) (a) (b) (c) Studies of Shipping. 

Pen-and-ink. 

(73) Sketch for the Picture of Howe's Victory. 

Indian-ink wash and pen, over pencil. 

(74) (a) (b) Sketches for a Picture ; shipping seen through an arch of a 

bridge. 

Indian ink. 

(75) (a) A Circular Fort on the Coast. 

Pen-and-ink and water colours. 

(6) A Breakwater. 

Indian-ink wash and pen. 

(c) Tomb of Colonel James Moncbieff at Ostend. Inscribed Tomb of 
Gen. Mongrief. 
Pen-and-ink. 

Moncrieff was chief of the British engineers at the siego of 
Valenciennes : d. 1793. 

(76) («) (b) Two Views of Nieuport. 

Pen-and-ink. 

(77) (a) (b) Two views of Valenciennes. 

Indian-ink wash and pen. 

(78) Apotheosis of a Naval Hero. 

Pencil. 

(79) (a) (b) Studies of Ruins. 

Indian- ink wash and pen. 

(80) (a) (b) Village Houses. 

Pen-and-ink. 

(81) (a) A Castle on a Hill. 

Pencil. 

(b) Assembly Rooms, Bath. 
Pencil. 



Philip James de Loutherbourgh. 



77 



(82) (a) (b) (c) Three Studies op Scotch Fir. Inscribed with memoranda. 

Pen-and-ink. 

(83) (a) (b) (c) (d) (e) Studies op Foliage. 

Pen-and-ink. 

(84) (o) Study op a Red Fib. 

Pen-and-ink. 
(6) Juniper, Beech and Ash. 
Pen-and-ink. 

(85) (a) A Trophy of Hebrew Arms and Emblems. 

Indian-ink wash and pen. 
(6) Studies from the Arch op Titus, etc. 
Indian ink. 

(86) Prow of a New Zealand Canoe. 

Pencil. 

(87) (a) (b) (c) (d) (e) Four Studies of Heads, and one whole-length 

Study of Savages. 

(88) (a) Savages in a Canoe, 

Indian ink. 
(b) Savage Weapons from the Sandwich Islands, New Zealand, etc. 

Pen-and-ink. 
(o) A Man Addressing a Group seated on the Ground. 

Indian ink. 

(89) (a) Head of a Savage. 

Water colours. 
(b) Whole-length of an Oriental Warrior. 
Water colours. 

(90) (a) Savage with Tomahawk. 

Red chalk. 

(b) Woman of the same Tribe, carrying a child. 

Red chalk. 

(91) (a) Two Men seated, one sketching. 

Pencil. 
(&) Head of a Man. 
Pencil. 

(c) The Pope giving Benediction. 

Pencil. 

(92) (a) (6) (c) (eZ) (e) (/) (g) (h) Studies of Heads and Figures. 

Pencil or pen-and-ink. 

(93) (a) An Ox's Head. 

Pen-and-ink. 

(6) Waggons. 

Pen-and-ink. 

(c) A Gipsies' Halt; Horses Feeding. 

Indian-ink wash and pen. 

(d) A Plough. 

Pen-and-ink. 

(94) (a) (b) (c) (d) (e) Studies of Hands and Arms. 
Red chalk and pen, or red chalk and Indian ink. 
Purchased March, 1868. 

Packet containing 32 studies of ships and boats for the artist's picture of 
Howe's victory, 1 June, 1794, and a sheet of studies of uniforms worn by 
Prince Ernest and by Gen<_ral Freytag, for the picture of the Siege of 
Valenciennes. 

Water colours or Indian ink, mostly with pen outlines. 

Purchased March, 1868. 

See also Vol. I., p. 207, for a drawing of the Royal Exchange, by John 
Chapman, with figures by Loutherbourgh. 



78 



Drawings of the British School. 



LOWE, Mauritius (b. 1746, d. 1793). Painter; pupil of Cipriani and 
student at the Royal Academy ; painted large mediocre subject 
pictures ; befriended by Dr. Johnson ; died in poverty. 

1. D-Bdalus and Icarus. Dffldalus standing on a mountain pointing with one 

hand to heaven, while Icarus soars into the air. 

Pen-and-ink and red chalk, with Indian-ink wash; roy., 17£ X llf in. 

2. Royal Power assisted by Wisdom and Virtue defending the Constitu- 

tion op Great Britain against the Attacks of Sedition and Licentious- 
ness. Eoyal Power, a nude male figure, wearing a crown, stands on a platform 
in front of a draped column, by the pedestal of which are two female figures, 
one standing and holding a crucifix, the other (Britannia) seated and holding 
a spear. From the r. approach the forces of Sedition and Licentiousness ; one, a 
giant with a huge club, cowers under the spear of Wisdom, who hovers above 
in the garb of Pallas, while a Bacchant and a Fury lower down r. stand im- 
potent before the commanding gesture of Royal Power. Beyond them is a 
burning temple. Above, a winged Victory emerges from the clouds and blows a 
trumpet. 

Pen-and-ink, with Indian-ink wash ; atl., 29| x 22J in. 

Engraved by George Graham and published 1793. 

3. The same Subject. A more finished design, modified in details and with the 
addition of an owl floating over Wisdom's head with a laurel wreath in its 
claws. 

Pen-and-ink, with Indian-ink wash, heightened with white ; atl., 30£ x 23 in. 
All purchased May, 1883. 



LUCAS, Henry (b. about 1740). Verse-writer; born in Dublin; wrote 
fulsome poems to the nobility, and a tragedy, ' The Earl of Somerset.' 

1. Illustration to the 'Earl of Somerset,' Act V. The Earl in the Tower, 
with the Countess of Essex endeavouring to console him ; at the r. a group of 
warders under a portcullis ; at the 1., the Countess's maid. 
Indian- ink wash and pen; roy., 7| X 6£ in. 

Engraved by W. Sharp, 1779, as frontispiece to the play, with the quotation — 
Countess : These sad reflections but enlarge distress ; 
Forbear to think. Somerset : for a charm 'gainst Thought ! 
The print has on it H. L. Esq. inv. There is no record of Lucas having been 
an artist, and the inscription may merely mean that he suggested the composition. 
A sketch of the same design by A. Runciman is in the department (see 
under his name), and he may possibly be also the author of this finished 
drawing. 

Purchased December, 1853. 



LUCAS, John (b. 1807, d. 1874). Portrait painter; born in London; 
pupil of S. W. Reynolds, the engraver ; acquired great vogue as a 
portrait painter ; engraved some of his own portraits in mezzotint. 

1. Portrait Study of Queen Adelaide. Head and shoulders in profile looking 
r. ; wearing a cap. Signed and dated J. Lucas, March 5th, 1844. Inscribed The 
Queen Dowager, taken for Sir W. Newton for the picture of the Marriage of 
Queen Victoria. 

Pencil; roy., 10§ X 8^ in. 

Adelaide, daughter of the Duke of Saxe-Coburg Meiningen, b. 1792, was 
married 1818 to the Duke of Clarence, and became Queen, 1830; unpopular 
during William IV.'s reign, through supposed hostility to reform, ehe won 
universal esteem as Queen- Dowager ; d. 1849. 

Purchased March, 1887. 



Samuel Lucas. 



79 



LUCAS, Samuel (b. 1805, d. 1870). Amateur painter; born at Hitchin ; 
of Quaker family; worked as an amateur at Shoreham, after 1838 at 
Hitchin, painting in oils and water colours, chiefly landscapes, birds, 
and flowers. 

[1-8] Drawings in water colours and monochrome. 

1. Sunrise over the Snow. A road leading away over level country, with low 
hills in the distance and at the 1. ; a man with a cart on the road, and in the 
field at the 1. a haystack; the whole landscape lying under snow, with blue 
shadows cast by the sunrise. Dated 1854. 

Water colours : roy., 8§ X 13J in. 

2. A Snowstorm. A haystack in fields, white with the snow which is whirling 

from the cloudy sky. 
Water colours ; roy., 5f X llf in. 

3. The Bird-Catcher ; Pegsdkn Fields. A bird-catcher kneeling in the 1. 
foreground and waiting to pull the cords of his nets spread in the field before 
him ; beyond, the wooded country, under a sky of shadowy clouds illuminated 
by the sunrise above low hills 1. 

Water colours ; roy., 9§ X 17J in. 

4. Moonrtse on a River. View from a height, with a rock or fragment of ruin r. 
looking down on a broad river flowing through level country with the moon 
rising on the horizon. 

Water colours ; roy., 9 x I3jin. 

5. Four on one mount, roy., viz. : — 

(a) Field Mice. Two field mice on a nest among thistles and corn blades. 

Water colours and pen ; 3J X 2£ in. 

(b) A Eobin. A robin on the snow near white-coated ferns and bushes. 
Dated 28/12/61. 

Water-colour sketch; 3§ X 3 in. 

(c) Silsoe Grounds. A frozen pond in a park with a building at the further 
end of it ; a snow scene. Inscribed Silsoe Grounds. 

Monochrome wash and pen ; 2£ x 4 £ in. 

(d) Snow Scene. A dog, followed by a man, coming along a path in the 
enow, with birds on the snowy bushes 1. Dated 28/12/1861. 

Monochrome wash and pen ; 4g x 4f in. 

6. Two on one mount, roy., viz. : — 

(a) A Breeze at Sea. A fishing boat sailing towards the 1. with a brig in 
the offing ; birds on a wave to the r. 

Indian-ink wash and pen ; 3£ X 7J in. 

(b) Sea-Birds. Puffins and razorbills on rocks r. by the sea's edge, and flying 
above the water ; a stormy sky. 

Indian ink ; 4 j x 1\ in. 

7. View from Gaping Hills; Stormy Evening. A view over a great tract of 
cornfields and woods, with low hills in the 1. distance ; all in the shadow of a 
stormy sky, flushed on the horizon, witli gleams passing over the fields ; in the 
foreground a man and a dog coming up a wet road. 

Water colours; imp., 9§ X 18f in. 

8. Top of Offley Holes, Hertfordshire. The top of a ridge stretching away 
from the 1. foreground and sloping off r. into a wide wooded plain ; two teams 
ploughing on the ridge, and rooks hovering about the furrows and in the 
branches of a tree in the r. foreground; a sky of broken cloud and sunshine, 
driven by a high wind from the r. 

Water colours ; imp., 9| X 19J in. 



80 



Drawings of the British School. 



[9-31] Sketches in pen-and-ink. 

9. Four on one mount, roy., viz. : — 

(a) A Felled Tree. A man lopping boughs from a felled tree, and a farm 
beyond. 
4J x 7 in. 

(&) Blacksmith's Shop at Pirton. With a man and horse outside. Dated 
Pirton, 1864. 
4£ X 6£ in. 

(c) A Farm by a Stream. With a footbridge 1. and two men working in the 
garden. 

4£ x 7 in. 

(d) Cottage at Pirton. With a man driving pigs in the foreground. Dated 
Pirton, 1864. 

4J X 6£ in. 

10. Four on one mount, roy., viz. : — 

(a) Babbits in a Coppice. 
3| X 5J in. 

(6) Babbits in a Garden Corner. Inscribed Mount Pleasant. 
3| X 5i in. 

(c) Starlings Flocking to a Wood. Inscribed Starlings... 1862. 

4£ x 5f in. 

(d) Fieldfares by a Winding Stream. Inscribed Fieldfares, 18/1-62. 

4 x 6| in. 

12. Four on one mount, roy., viz. : — 

(a) Crows on a Fence, with a man ploughing beyond. Inscribed Crows, 
1864. 

4 x 7 in. 

(b) Ploughing, A man ploughing, with crows in the foreground. 

4 x 6g in. 

(c) Jays and Fox. Two jays on a bough, and a fox coming up from a ditch. 
Inscribed Jays and Fox. 

4 X 6| in. 

(cZ) Magpies. Two magpies on a nest in a tree. 
4 x 6§ in. 

12. Six on one mount, roy., viz. : — ■ 

(a) Tits on a Bough. 

If X 2 in. 

(b) Partridges. 

1J X 3 in. 

(c) A Nuthatch. Inscribed Nuthatch 22/1, 1862. 

1J X 2g in. 

(d) A Bobin perched on a Plank. 

3§ x 3f in. 

(e) Stone-chats. Stone-chats on a gorse bush. Inscribed Stone-chats. 

3J x 3J in. 

(/) Birds Feeding. Birds in a garden, picking food put out for them. In- 
scribed Birds coming for food in snow. 21/12. 1862. 
4J x 5| in. 

13. Six on one mount, roy., viz. : — 

(a) Lapwings in a Field. 

1J X 2f in. 
(6) Lapwings on a Biver Bank. 

2£ x 4 1 in. 
(c) A Kingfisher by a Stream. Dated 11/12, 1861. 

2J x 4J in. 



Samuel Lucas. 



81 



(d) Shooting Water Fowl. A man iu a boat with dog and gun. 

2£ x 4£ in. 

(e) Water Bail. A water rail started by a dog. Inscribed Water Bail, 18/1. 
1862. 

3| x 5| in. 

( /) Wild Duck. Ducks and ducklings. Inscribed Wild ducks on the stubble, 
1862. 
3| x 5g in. 

14. Four on one mount, roy., viz. : — 

(a) Birds on a Heath in Winter. Inscribed Immense flock of small birds, 
1/12 mo. 64. 
4J x 7 in. 

(6) Pheasants Watched by a Fox. Inscribed A poacher among the pheasants. 
4J X 6§ in. 

(c) The Mole Catcher. A mole catcher with his dog visiting a trap. In- 
scribed Mole Catcher, 1864. 

4£ x 7 in. 

(d) Hare Sitting. Sportsman with greyhounds, and a hare in a brake 1. 
Inscribed Hare Sitting. 

4J x 6£ in. 

15. Four on one mount, roy., viz. : — 

(a) Unloading Barges, Swanage. Inscribed Sivanage. 

4 x 6f in. 

(b) Boats off the Pier, Swanage. 

4J x 7 in. 

(c) Cliffs and Sea. 

4| x 7 in. 

(d) A Seaport with Castle on a Hill. Dated 1864. 

4| x 7 in. 

16. Four on one mount, roy., viz. : — 

(a) Sheep in a Fold. Dated 21/12, 1861. 

44 x 7 in. 
(6) Sheep in a Fold. Dated 17/1, '63. 

4J X 6£ in. 

(c) Birds near a Sheep Fold. Dated 1861. 

4J x 6| in. 

(d) A Village Street. Inscribed Gosmore. 

4J x 6J in. 

17. Four on one mount, roy., viz. : — 

(a) Boat-Building. A boat on the stocks at a port. 

3| x 5f in. 
(V) Portland Harbour. Inscribed Portland. 

3£ x 6J in. 

(c) A Wreck Washed by Breakers. 

3J x 5| in. 

(d) The Pool of London. Inscribed Wapping. 

4J x 6£ in. 

18. Five on one mount, roy., viz. : — 

(a) Carting Timber. 

34 x 5| in. 

(b) Sheep-pens. 

3} X 6J in. 
vol. ni. G 



82 



Drawings of the British School. 



(c) Lopping a Felled Tree. 

2£x5£in. 

(d) An Encampment under Trees. Dated 30, 11 mo. 1861. 

3§ x 6J in. 

0) Tents by a Eoadside. Two horsemen on the road. Dated 11 mo. 29. 18G2. 
3§ x 6f in. 

19. Four on one mount, roy., viz. : — 

(a) Babbits Watched by a Fox. Dated 12/4. 1862. 

4| X 6 J in. 

(b) Fox Hunting Birds near a Haystack. Dated 23/12, 64. 

4 X 7| in. 

(c) A Fox Finding his Earth Stopped. Hounds in pursuit. 

4J X 6£ in. 

(d) A Fox Fursued by two Dogs. Inscribed Eighdown Wood, 16/11 mo. 1861. 

4| X 7 in. 

20. Four on one mount, roy., viz. : — 

(a) Lapwings in a Field. Ploughmen beyond. Inscribed Lapwings, 1864. 

4£ X 7 in. 

(b) Golden Plovers. Inscribed Golden Plovers, and dated 29 — 11 mo. 1861. 

4£ x 6f in. 

(c) A Mole Trap. With dead moles hung on a bush. Inscribed Moles, 12 

mo., 64. 
4| x 6£ in. 

21. Five on one mount, roy., viz. : — 

(a) Hares and Pheasants. Inscribed Cover side. 

3£ X 4£ in. 

(b) Hare and Young in a Field. Dated 4 m. 11, 1862. 

3h X 4| in. 

(c) A Hare in a Turnip Field. Two dogs coming up. Dated 2/12 mo. 
1861. 

3J x 4J in. 

(d) Deer on a Heath. 

2 X 51 in. 

(e) Foxes Left by Hounds. Inscribed Two foxes on a tumulus — hounds 
leaving them. 

4 x 6| in. 

22. Four on one mount, roy., viz. : — 

(a) Snipe on a Pool attacked by a Hawk. 

4£ X 7 in. 

(b) Magpies in a Field. Dated 7/12, 1861. Orton Ed. 

4£ x 7 in. 

(o) A Group Sittlng under a Tree ; Twilight. Inscribed Listening to Owls, 
Offley, Sepr. 17, 1863. 
4| x 6| in. 

(d) Highdown Wood. Two rabbits in the foreground. Inscribed Highdown 
Wood, 22/11 mo., 1861. 8. L. to E. M. 
4| x 7 in. 

23. Four on one mount, roy., viz. : — 

(a) Goldfinches on Thistles. Inscribed Goldfinches. 

4£ X 4f in. 

(b) Chaffinches and Sparrows. Dated 25/12. 1861. 

1\ x 4£ in. 



Samuel Lucas. 



83 



(c) Owls in a Hollow Teee. 

2§ x 3f in. 

(d) A Bied on a Hedge-top. 

3J x 5£ in. 

24. Three on one mount, roy., viz. : — 

(«) On the Boad. A family on donkeys descending a road to distant woods. 
Dated 12 mo. 62. 
4j X 6 in. 
(6) A "Water Mill. Inscribed Shillington Mill, and dated 1/4, 63. 

4 x 6£ in. 
(c) Skaters and Sliders on a Mill Pond. Inscribed Cliatton mill head in 
frost. 

4£ x 6g in. 

25. Four on one mount, roy., viz. : — 

(a) Village and Stream. Dated Whitwell 10/12, 1864. 

3f x 6| in. 
(6) Stream and Cottage. Dated 25/1, 1862. 

4| x 6f in. 

(c) Hertford from the Banks of the Lea. 

4J x H in. 

(d) Cottage on the Banks of the Mimram. Inscribed Water Cress. Mimram 
10/12. 64. 

4J x 7 in. 

26. Five on one mount, roy., viz. : — 

(a) A Mountain Stream. 

3| X 4£ in. 
(6) Cottage and Stream. With a shepherd and his flock. Dated 30/3. 63. 

3J x 6J in. 

(c) Shillington Mill. Dated 1/4. (?) 63. 

3£ x 6J in. 

(d) Old House and Pond. 

3f x 6£ in. 

(e) Trees and Pool, with a Church Spire beyond. 

4 X 5£ in. 

27. Four on one mount, roy., viz. : — 

(a) A Willow Fallen in a Stream. Inscribed Willow blown down, Orton 
Hd. Water rats and dabchicks. 

4£ x 7 in. 
(6) Cutting Willows. Inscribed Willows, Orton Hd. Cut 1861-2. 

4£ X 7 in. 

(c) Women Cutting Fuel from a Fallen Tree. Dated 29/1. 1862. 

4J x 6£ in. 

(d) Felled Tree and Pond. 

4| x 6£ in. 

28. Four on one mount, roy., viz. : — 

(a) Stonehenge. With a crowd of visitors. Inscribed Stonehenge, 18/4, 1862. 

Good Friday. 

3| X 7 in. 

(6) Old Sarum. With a crowd of people. Dated 18/4 m, 1862, Old Sarum, 

Good Friday. 

4 x 7 in. 

(c) Salisbury from the Biver. Cattle and sheep on the bank. 

4J x 6| in. 

(d) Salisbury from the Biver. With cattle in the water. Dated 11 mo. 62. 

ih X 6J in. 

a 2 



84 



Drawings of the British School. 



29. Four on one mount, roy., viz. : — 

(a) View down a Valley to the Coast; Dorsetshire. Inscribed Encombe 
St. Adhelm. 24/4 m. 1861. 

4 x 6£ in. 

(b) A Boulder on a Hill Top; coast beyond. Inscribed Agglestone, 25/4 
mo. 1862. 

4 x 7 in. 

(c) A Cave in a Sea Cliff. Inscribed Tilly Whym, 25/4. 1862. 

4 x 6| in. 

(d) Corfe Castle. With the sea in the distance. Inscribed Corfe. 

4 x 7 in. 

30. Six on one mount, roy., viz. : — 

(a) A Bbidge over an Estuary. 

If X 6J in. 

(b) A Windmill. 

2| X 4£ in. 

(c) View over Wooded Country in Kain. With a town and church among 
trees. 

4 X 6f in. 

(d) Cottage and Stream under Wooded Hills. 

3 x 4 in. 

(e) Knebworte Park in a Shower. Two crows on an oak in the foreground. 
Inscribed Knebworth 10/4 mo 1862. Main. 

4| X 5£ in. 
(J) A Barge on a Canal ; rainy day. With a foaming weir, and beyond, 
flooded fields. 
4| x 5| in. 

31. Four on one mount, roy., viz. : — 

(a) An old Lady going to Market. 
4& X 2f in. 

(&) An old Lady lying in a low Chair, knitting. With a dog at her knee. 
Inscribed H. Dix. 
2f x 4f in. 

(c) Portrait Sketch of an old Gentleman. Half length, seated, looking r. 

Inscribed Bevd. Smith. 
4J x 3£ in. 

(d) Portrait Sketch. Half length of a bald, smooth-shaven man in profile 
looking 1. Inscribed John Eddy, Ohio. 

4§ X 3J in. 

All presented by Mrs. and the Misses Lucas, November, 1890. 

LUCY, Charles (b. 1814, d. 1873). Painter; born at Hereford; pupil 
in Paris of Delaroche, and student in London at the Royal Academy ; 
worked for many years at Barbizon, painting numerous subjects from 
English history, especially Puritan times ; afterwards in London ; 
many of his pictures have been engraved. 

1. Studies for ' The Arrival of the Pilgrim Fathers.' A man's head looking 
down ; an old woman's head in profile ; a hand holding a rope ; and a young 
woman's head, thrown back, with eyes closed. 

Black chalk on bluish paper ; roy., 13f X 9f in. 

2 . Study for ' Cromwell Kesolving to refuse the Crown.' Study for the figure 
of Cromwell seated, with his hand raised to his chin. Below, study of a booted 
foot. 

Pencil on drab paper, heightened with white ; roy., 11 X 9 in. 

3. Studies for the same Picture. Two studies of a leg in jack boots. 

Black chalk on drab paper, heightened with white; roy., llf X 13| in. 
All purchased, January, 1878. 



E. Luttrell. — N. 0. Lupton. — F. Mackenzie. — W. Mackinnon. 85 

LUTTRELL or LUTTEREL, Edward (worked about 1670-1710) 
Crayon painter and mezzotint engraver ; born probably in Dublin 
practised portrait painting as an amateur and then as a professional 
one of the earliest English mezzotint engravers, working with and for 
Isaac Beckett and Lloyd the publishers : engraved some of his own 
drawings. 

1. Portrait op a Gentleman Unknown. Bust of a man in a ruff and skull-cap, 
turned 1. with face in three-quarters turned 1. and looking full ; with gray 
moustache and pointed beard. 
Crayons ; roy., 8f x 7J in. 
Purchased June, 1881, at the Bull sale. 



LUPTON, Nevil Oliver (b. 1828). Painter ; youngest son of T. Lupton, 
the engraver; exhibited landscapes at the Royal Academy 1851-1877. 

1. Portrait op Thomas Lupton, after a Bust by Scipio Clint. Bust in profile, 
looking 1. Signed and dated, Oliver Lupton delint., 18M, from a bust by Scipio 
Clint. 

Pen-and-ink ; 8 X 6| in. 

Thomas Goff Luptou, b. 1791, d. 1873, is well known as a mezzotint engraver, 
especially for his plates after Turner ; he was the first to use steel for mezzo- 
tints. 

Inserted in Vol. XIII., No. 4, of the interleaved Academy Catalogues, 
presented by J. H. Anderdon, Esq., November, 1867. 



MACKENZIE, Frederick (b. 1787 or 1788, d. 1854). Water-colour 
painter and draughtsman ; pupil of J. A. Repton, the architect ; 
worked in his youth for John Britton, making architectural and 
topographical drawings ; well known for his careful water colours of 
architectural subjects, many of which were engraved in various 
publications ; Associate of the Water Colour Society 1822, Member 
1823, Treasurer 1831. 

1. Antwerp Cathedral. A near view of the west front of the Cathedral, with a 
glimpse of the Place Verte at the r. ; groups of figures in the foreground. 
Sepia over pencil, highly finished ; roy., 8 J x 5 in. 
Purchased May, 1859, at the Dawson Turner sale. 



MACKINNON, W. (worked about 1800). Draughtsman; biography 
unknown. 

1. Bunhay, Exeter. View on the Exe, which comes down a green valley over 

rapids into the 1. foreground ; a road from the r. crossing a footbridge also 
comes into the foreground, and beyond r. are wooded sandstone cliffs and a 
mansion nearly hidden among trees, with a few figures on the grassy bank of 
the river. Signed IF. Mackinnon. 
Water colours ; atl., 15J x 22£ in. 

2. View in Switzerland. View of a conical mountain seen across a valley through 

which a stream flows into the 1. foreground ; at the r. a man and goats in front 
of a chalet among trees ; beyond the stream, scattered trees and a hamlet 
toward the r., in the distance snow mountains. 

Water colours ; atl., 15^ X 22J in. 

Both purchased, March, 1872. 



86 



Drawings of the British School. 



MACLISE, Daniel, R.A. (b. 1806, d. 1870). Painter ; born in Cork of 
Highland Scotch parentage ; studied in the Cork Academy ; came to 
London, 1827, and studied at the Royal Academy; became well 
known (as Alfred Croquis) by his series of portraits of literary 
characters in ' Eraser's Magazine,' 1830-38, afterwards by his oil 
pictures of subjects from history and romance, his later life being 
chiefly devoted to the large compositions for the House of Lords, 
1 Wellington and Bliicher,' and ' The Death of Nelson ' ; elected 
A.R.A. 1836, R.A. 1840. 

1. Portrait of Edmund Lodge, Norroy King-at-Arms. Half length, seated in 

an arm-chair turned L, the face in three-quarters turned 1., eyes looking full, 
r. hand holding book on knee. Signed and dated D. McClise, Jany., 1828. 
Inscribed, Edm dl Lodge, Norroy. 

Pencil, partly washed with Indian ink ; roy., 9£ X 8J in. 

A different whole-length portrait of Lodge was lithographed for the series of 
Literary Characters in ' Fraser's Magazine,' No. 77. 

Edmund Lodge, herald and biographer, b. in London, after being in the army 
for a short time, was elected F.S.A. 1787; became Lancaster Herald 1793, 
Norroy 1822, and Clarenceux 1838 ; d. 1839 ; published several biographical 
works, the best known of which is the ' Portraits of Illustrious Personages,' 
with memoirs. 

2. Portrait of the Kev. K. H. Ryland, Chancellor of Waterford Cathedral. 
Three-quarter length, seated to front; the head in full face turned slightly r. ; 
legs crossed, with one hand on knee ; pillar and table r. 

Pencil, partly washed with Indian ink ; roy., 9| x 7J in. 
Purchased August, 1879. 

3. Portrait of Oltmpia Marta Ryland. Three-quarter length of a little girl 

with short hair, holding a cat on her lap, seated under a tree, facing to front 
and looking full ; a bush of mallow r. Signed and dated D. McClise, Dec. 1827. 

Pencil and water colours ; roy., 8g X 6£ in. 

Miss Ryland was niece of Dr. Ryland, whose portrait is described above. 

Purchased July, 1879. 

4. Portrait of Letitia Elizabeth Landon (' L. E. L.'). Whole length, seated 
to front, in full face, one arm resting on a table r., with a flower held in the 
hand, the other hand holding a pair of white gloves ; in a low gray-blue dress, 
with braided hair. 

Water-colour wash and stipple ; roy., 7£ X 5f in. 

Lithographed in the series of Literary Characters in 'Fraser's Magazine,' 
No. 41. For the biography of the sitter, see another portrait by Samuel 
Freeman (Vol. II., p. 169). 

Presented by the Kev. James Fraser, February, 1893. 

5. Two on one mount, roy., viz. : — 

(a) Una and the Red Cross Knight. The Red Cross Knight riding over 
the plain, and Una at his side ; below, a panel decorated with crosses and 
two lilies, and with a blank scroll in the middle ; above, on a wreathed 
scroll, The Bed Cross Knight. Inscribed below, Una and Bed Cross 
Knight. 

Pencil ; 9 J X 7J in. 

(&) The Spirit of Justice: Design for a Decoration in the House of 
Lords. An arched panel ; at the top Justice enthroned, surrounded by 
law-givers ; below her an angel on a cloud, about to strike a crowd of 
transgressors cowering underneath. Inscribed below, First Sketch for 
No. 1, the Compartment of Justice, Commissioned by Government. 

Pencil ; 9f x 6J in. 

Purchased October, 1886. 



Maclise. — Malchair. — Malcolm. — Moling. — Maliphant. — Median. 87 



6. Illustration to a Poem or Story. A room in a mediasval castle ; two lovers 
sitting 1. in a settle by a fireside, listening to an old man playing the harp, 
seated on a bench at the r. ; a page enters by a door behind the lovers, bringing 
a pasty and flagon of wine ; two hounds in front of the tire ; armour on 
the walls. Signed D. Maclise, R.A. 

Water colours ; roy., 6| X 9.J in. 

Bequeathed by Henry Vaughan, Esq., August, 1900. 

MALCHAIR or MELCHAIR, John (worked about 1763-1782). 
"Water-colour painter and etcher ; worked at Oxford ; exhibited a 
landscape at the Royal Academy 1773. 

1. Ruins of an Aqueduct. Four broken arches of an aqueduct seen in per- 
spective, on the near bank of a stream, beyond which rise hills in evening light. 
Water colours ; roy., 7J X 9 in. 
Bequeathed by the Bev. 0. M. Cracherode, 1799. 

MALCOLM, James Peller (b. 1767, d. 1815). Draughtsman and en- 
graver; born in Philadelphia ; worked in London from 1788-9 ; drew 
and engraved topographical subjects for 'Excursions through Kent' 
and other works. 

1. York Buildings, looking towards Westminster, 1797. The Water-gate in 
the foreground. 

Water colours and Indian ink ; 11^ x 16f in. 

No. 153 in Portfolio V. of the Orace Collection of London Views, purchased 
November, 1880. 

MALING, S. (worked about 1750). Topographical draughtsman; 
biography unknown. 

1. View up Millbank, Westminster. View looking up the river, on which are 
two sailing boats ; on the bank r. a ruinous cottage, trees and palings. In an 
oval with a border, inscribed below View up Milbank Westminster. Signed 
8. Mating. 

Indian ink ; roy., 1\ x 9J in. 
Purchased February, 1877. 

MALIPHANT, George (worked about 1806-1833). Draughtsman; 
worked in London ; a Member of the Society of British Artists ; 
exhibited architectural drawings at Suffolk Street and at the Royal 
Academy, 1806-1833. 

1. View of a Country Seat. View, framed in trees, of a large mansion in a 
park, with a lake in front. 

Pencil sketch, washed with water-colour tint ; roy., 9£ X 14^t in. 

2. A Chapel in a Wood. A chapel surrounded by trees. 

Pencil sketch, washed with water-colour tint: roy., 9 J X 14J in. 

3. A Buined Abbev. Ruins of an abbey with birch trees in the foreground- 

Pencil sketch, washed with water-colour tint; roy., 9 J x 14 £ in. 

4. Part of a Ruined Abbey. With trees on a hill beyond. 

Pencil sketch, washed with water-colour tint ; roy., 9| x 14 in. 

5. Cartsbrooke Castle. View from below the road leading up to the entrance of 
the Castle. Inscribed Carisbrook Castle. 

Pencil sketch, washed with water-colour tint ; roy., 9f X 14 in. 
All presented by J. Deffett Francis, Esq., December, 1874. 

MALKIN, S. (worked about 1821-1832). Landscape painter; worked 
in London; exhibited at the Royal Academy and elsewhere, 1821-29. 
1. The Castle Gate. A Gothic portal in front of which a man in armour stands 
leaning on a balustrade overlooking a lake; beyond the water a spire among 
trees, and hills. Signed and dated S. [or T. *] Malkin 18o2. 
Pen-and-ink ; roy., 5J X 4| in. 
Presented by T. Norris, Esq., October, 1873. 



Drawings of the British School, 



MALTON, James (d. 1803). Architect and draughtsman; son of Thomas 
Malton the elder, whom he accompanied to Ireland ; published (1797) 
a work on the City of Dublin, with views by himself ; author of books 
on architecture and perspective (which he taught) ; died in Maryle- 
bone. 

1. Provost's House, Trinity College, Dublin. View from the corner of Suffolk 
Street and Grafton Street, showing the Provost's house with its courtyard and 
gateway in front : a carriage coming from the 1., and a small cart from the 
r., and groups of figures in the road and on the pavement. 

Indian ink, partly tinted with water colours ; roy., 10£ X 14§in. 
Engraved in aquatint by the artist (with figures added and modified) for hia 
• Picturesque and Descriptive View of the City of Dublin,' 1792. 
Purchased July, 1878. 

2. Elevation of a Cottage. A one-storied cottage with thatched roof and a 

verandah in front, on which are a lady and two children ; trees behind. Signed 
(twice over) James Malton, ArchL, 1800. 

Indian ink, tinted with water colours ; imp., 13 X 19J in. 

Purchased March, 1867. 

A similar, but considerably modified design was engraved in aquatint by the 
artist for his ' British Cottage Architecture,' 1798, pi. 18. 

MALTON, Thomas, the younger (b. 1748, d. 1804). Architectural 
draughtsman ; son of Thomas Malton the elder, and elder brother of 
James ; worked in Dublin as a boy ; pupil of J. Gandon in London ; 
exhibited at the Royal Academy, sending tinted views, chiefly of 
London, a hundred of which he engraved in aquatint for his 
' Picturesque Tour through London and Westminster ' ; teacher of 
J. M. W. Turner. 

1. Interior oe St. Paul's Cathedral, View looking up the nave to the E. 
end ; three groups of figures near the foreground. 

Indian ink, partly tinted with water colours ; ant., 21J x 18| in. 

Engraved 1797 in aquatint (with different figures) by the artist for his 
' London and Westminster,' p. 67. 

Purchased March, 1868. 

% King's Mews, Charing Cross. View on the site now occupied by Trafalgar 
Square ; the mews standing at the 1., with grooms practising horses in front of 
the great gateway, and the west front of St. Martin's Church appearing above 
low houses in the background. 

Indian ink and water-colour tint over an etched outline ; roy., llf X 8$ in. 

This is an etching, coloured as a model for the preparation of the aquatint 
plate published 1794 in the • London and Westminster,' p. 33. 

Purchased December, 1871. 

[3 — 5] Drawings in the Crace Collection of London Views, purchased November, 
1880. 

3. View of New Somerset House. In its unfinished state. View looking towards 
St. Paul's. 

Water colours and Indian ink, with pen outlines; llf X 17J in. 
No. 226 in Portfolio VI. 

4. The Phcenix Fire Engine Station, Cockspur Street. 

Water colours ; 7J x 9£ in. 
Inferior work, more probably a copy. 
No. 129 in Portfolio XI. 



6, Church of St. Lawrence Jewry, King Street, Cheapside, 1783. 
Guildhall at the r. 

Water colours and Indian ink ; 13 x 18| in. 
No. 79 in Portfolio XXI. 



With the 



F. J. Manshirseh. — G. A. Mantell. — W. Marlow. 



89 



MANSKIRSCH, Franz Joseph (b. 1770, d. 1827). Painter and 
engraver ; son and pupil of B. G. Manskirsch, of Bonn ; painted 
landscapes ; worked in England about 1796-1805, afterwards in 
various parts of Germany. 

1. Landscape with Woodmen and Houses. A clearing in a wood, in which a 
waggoner rests his unharnessed team of three, and a woodman with some sticks 
on his shoulder comes toward the foreground, a dog running beside him and 
another dog drinking at a stream or pool r. ; in the background 1. two other 
men sit on the bank near the waggon, on which is a great tree trunk. Signed 
F. J. Manskirsch. 

Pencil and Indian -ink wash ; 9 J x 12 fin. 
Purchased October, 1872. 

2. Landscape, with Cattle and Tkees. 

Indian-ink wash and pen : 6J x 9 in. 

Inserted in Vol. VI., No. 58, of the interleaved Academy Catalogues, presented 
by J. H. Anderdon, Esq., November, 1867. 

MANTELL, Gideon Algernon (b. 1790, d. 1852). Palaeontologist and 
draughtsman ; author of ' Fossils of the South Downs ' (for which 
he drew illustrations) and other works on geology. 

1. Study op a Shell. Inscribed on the margin Upper part of the Phragmocone 
of a Belemnite in the British Museum {nat. size). This figure should either be 
engraved on copper or coloured. Signed G. A. Mantell. 

Water colours ; roy., 11 x 7J in. 

Purchased January, 1882. 



MARLOW, William (b. 1740, d. 1813). Painter; studied under 
Samuel Scott ; worked in France and Italy 1765-68 ; Member of the 
Society of Artists ; painted sometimes in oils, but chiefly in water 
colours, painting landscapes, country seats, etc. ; worked in London 
and Twickenham. 

1. Landscape with Figures. A bank with two men by the stump of a tree 1. ; 
beyond r., a hollow and a cottage on a slope. 

Indian ink and water colours ; roy., 2£ x 3Jin. 

Bequeathed by the Eev. C. M. Cracherode, 1799. 

2. Barn at Twickenham. A field with a barn r., a cow lying down 1., and a tree 
in the 1. foreground. 

Pen-and-ink, washed with Indian ink and water colours ; roy., 6£ X 7g in. 
Purchased August, 1877. 

3. Italian Scene. A sandstone cliff with caves in its face rising r. above the 

bank of a river, by the shore of which are two fishermen ; a third ascends a path 
leading up a hollow 1 to a building on a height. Signed W. Marlow. 

Indian ink and water colours ; roy., 10£ x 14f in. 

Purchased November, 1864. 

4. View near Naples. A ruined castle built on a rock by the seashore 1. ; in the 

foreground a little bay, with three fishermen and a girl by the water r., and 
another man near a drawn-up boat 1. ; at a little distance r. a felucca and the 
hilly coast beyond. 

Indian ink and water colours ; roy., 11 J X 18J in. 

Etched by the artist, who also made a large painting of the subject. 

Purchased May, 1890, at the Percy sale. 



90 



Drawings of the British School. 



5. Fish Steeet Hill and the Monument. View looking down Fish Street 

Hill, with the Monument 1. and St. Magnus' steeple beyond ; carriages and 
carts in the road, and a coach and pair before a house r. ; many people on the 
pavements, and a porter crossing the street in the foreground. Signed W. 
Marloio. 

Water colours and Indian ink ; imp. ; 19| X 15| in. 

Engraved by Thomas Morris. The engraving is mounted with the drawing. 

Purchased May, 1891. 

6. A Castle on a River. The bank of a river, with houses bordering the opposite 
shore, and above them a castle built on a high rocky cliff, projecting from a line 
of hills; in the foreground r. two men and a donkey by the water, and a boat 
moored beneath a building. Signed W. Marlow. 

Water colours and Indian ink ; atl., 15§ X 23§ in. 
Purchased August, 1877. 

7. Ferey over the Thames to Sion House. "View of the ferry from the Kcw 
side of the river, with ferry house 1. Signed W. Marloio. 

Water colours and Indian ink ; 8J x 13J in. 

No. 63 in Portfolio XXXVI. of the Crace Collection of London Views, pur- 
chased November, 1880. 

8. Album containing chiefly sketches in pencil or pen-and-ink, more or less slight, 
for views in London. 

(1) (a) Above Westminster Bridge ; view looking down the river, 
(fe) North Side op London Bridge. 

(2) South Side of London Bridge. 

(3) Fish Street Hill and the Monument. 

(4) Blackfriars Bridge and St. Paul's. 

(5) (a) Village and Pier on the Thames. 
(b) Westminster from below the Bridge. 

(6) Charing Cross, with the statue of Charles I. 

(7) Adelphi Terrace, from the river. 

(8) Westminster from below the Bridge. 

(9) (a) Blackfriars Bridge and St. Paul's. 
(6) Blackfriars Bridge and St. Paul's. 

(10) (a) St. Paul's and London Bridge. 
(b) St. Paul's and London Bridge. 

(11) (a) The Temple from the Biver. 

(b) Westminster from Lambeth, with Westminster Bridge r. 

(12) (a) Whitehall; view looking up the street. 

(b) London Bridge. 

(13) (a) London Bridge. 

(6) St. Paul's from below London Bridge. 

(c) St. Paul's from below London Bridge. 

(14) (a) Part of the Uffizi, Florence ; facing the Auno. 

(b) Westminster Abbey. 

(c) A Church in the Suburbs. 

(15) (a) A Street in London, with a Coach. 
(6) A Road with a Large House r. 

(c) Chiswick Church. 

(d) Charing Cross. 



William Marlow. 



91 



(16) (a) St Paul's feom the Eiveb. 

(b) (c) (d) Views op London Bbidge. 

(17) (a) Blackfbiaes Bbidge. 

(b) London Bbidge. 

(c) View looking down Threadneedle Stbeet, with the Bank l. 

(18) (a) Whitehall. 

(b) Eichmond (?) Bbidge. 

(c) Blackfbiabs Bbidge and St. Paul's. 

(19) (a) A Countey House (Gunnersbury House?). 

(b) Fish Stbeet Hill. 

(c) St. Paul's fbom Hungeepobd, with Somebset House in couese op 
Erection. 

(20) (a) Sketches op Buildings. 

(b) Chiswick. 

(c) Gateway with Weathebcock, etc. 

(21) (a) St. Mabtin's-in-the-Fields. 

(b) A Stbeet Fbont. 

(c) Whitehall. 

(22) (a) The Monument. 

(b) St. Maey-le-Steand. 

(c) Westminsteb Abbey. 

(23) (a) A Bridge oveb the Thames. 

(b) Houses on the Thames at Richmond. 

(c) An Aech op Blackpeiaes Bbidge. 

(24) (a) The Thames, looking towaeds Twickenham. 

(b) St. Paul's feom the Bivee. 

(c) Plan of an Estate at Folkestone. 

(25) (a) Westminsteb feom Lambeth. 

(6) The Thames below London Bbidge. 

(26) (a) Somebset House, fbom acboss the Eiveb. 
(6) A Building with a Dome on a Riveb. 

(c) St. Paul's. 

(d) Steeple of a City Chuech. 

(27) (a) SOUTHWAEK AND THE THAMES. 

(6) Westminsteb Bbidge. 

(c) St. Paul's from Somerset House. 

(28) (a) Charing Cross. 

(b) A House in a Garden. 

(c) Pagoda and Avenue in Kew Gardens. 

(29) Westminster, with the bridge r. 

(30) (a) St. Mary-le-Strand. 

(6) Somerset House, looking towards St. Paul's. 
(c) Somerset House, looking towards Westminsteb. 

(31) (a) Wharf on the Thames. 
(&) Sailing Boat. 



92 



Drawings of the British School. 



(32) (a) Garden Wall and Tkees. 

(b) Houses by the Eiveb. 

(c) Somerset House. 

(d) St. Mart-le-Strand and Somerset House. 

(e) The Statue op Charles I. at Charing Cross. 

(33) (a) Northumberland House, Charing Cross. 
(6) St. Paul's, Covent Garden. 

(c) Houses and Trees. 

(d) Whitehall. 

(34) (a) Windmill and Common. 

(6) (c) Slight Studies op Buildings. 
(d) Arches op London Bridge. 

(35) (a) Shop Signs and Inscriptions. 
(b) Houses by London Bridge. 

(36) Names and Inscriptions on Shops. 

Purchased August, 1877. 

9. Sketch-book containing 59 academical and figure studies iu pencil, mostly 
washed with Indian ink, some also with water colours ; 4§ x 7J in. 

MAURIS, R. (worked about 1770-1788). Landscape painter ; worked in 
London ; exhibited at the Royal Academy and with the Free 
Society of Artists, 1770-1784. 

1. Cliffs at Hastings. Cliffs 1. and the sea r. ; at the foot of the cliffs are fishing 
boats, drawn up in front of a cluster of cottages, from which a path leads along 
the beach ; near the 1. foreground a man with two donkeys approaches, and 
another man further off goes towards the cottages. Signed and dated B. Marris, 
1788 (?), Hastings. 

Indian ink and water-colour tint and pen outlines ; roy., 10J X 14 in. 

Purchased July, 1878. 

(2) Euins of Hastings Castle. A path winding from the foreground through 
a hollow in the cliff; on a rock 1. a thatched cottage; on the top of the cliff r. 
part of the castle walls ; near the foreground r. two men on a boulder ; two men, 
one riding and one walking on the path. Signed and dated R. Harris, 1788, 
Hastings. 

Indian ink and water-colour tint; with pen outlines ; roy., 10f x 16 J in. 

Purchased May, 1881. 



MARRY AT, Captain Frederick 

amateur draughtsman. 



(b. 1792, d. 1848). Novelist and 



See the sketches supplied for the ' Life of a Midshipman ' to Cruikshank, 
catalogued under that artist, Vol. L, p. 284-85, Nos. (24)-(34). 

MARSHAL, Alexander (worked about 1660-1690). Painter; painted 
flowers on vellum and made copies of pictures by Vandyck. 

[1-11] Drawings of flowers on vellum. 

1. Three on one mount, roy., viz. : — 

(a) Three Tulips. The flowers are with a ribbon in this and in the rest of tlie 
drawings. 

Water colours ; 7£ X 4£ in. 

(6) Anemones. Two double and one single. 
Water colours ; 7| X 4£ in. 

(c) Anemones. Two double and one single. 
Water colours ; 7 X 4£ in. 



Alexander Marshal. 



93 



2. Three on one mount, roy., viz. : — 

(a) TULIP AND TWO DOUBLE ANEMONES. 

"Water colours ; 7J X 4£ in. 

(6) Anemones. Two double and one single. 
Water colours ; 7£ x 4J in. 

(c) Anemones. Two double and one single. 
Water colours ; 7£ x 4£ in. 

3. Three on one mount, roy., viz. : — 

(a) Three Tulips. 

Water colours ; 7J X 4g in. 

(6) Three Tulips. 

Water colours ; 7 X 4£ in. 

(c) Anemones. One Bingle and two double. 
Water colours ; 7 X 4£ in. 

4. Three on one mount, roy., viz. : — 

(a) Dog's Tooth Violet and two Double Anemones. 

Water colours ; 7 X 4 £ in. 

(b) Tulip and two Double Anemones. 

Water colours ; 7 X 4| in. 

(c) Three Double Anemones. 

Water colours ; 7£ x 4£ in. 

5. Three on one mount, roy., viz. : — 

(a) Three Tuld?s. 

Water colours ; 7 X 4 J in. 

(b) Three Tulips. 

Water colours ; 7 X 4 J in. 

(c) Tulip, Yellow Violet, and Anemone. 

Water colours ; 7 X 4J in. 

6. Three on one mount, roy., viz. : — 

(a) Three Anemones; one of a large, two of a small kind. 

Water colours ; 7| X 4£ in. 

(b) Tulip, Mallow, and Anemone. 

Water colours ; 7£ x 4£ in. 

(c) Tulip, Cherry-blossom, and Hyacinth. 

Water colours ; 7 J X 4£ in. 

7. Three on one mount, roy., viz. : — 

(a) Two Single Anemones. 

Water colours ; 7& X 4 J in. 

(b) Narcissus and Eose. 

Water colours ; 7 X 4£ in. 

(c) Eose, Tagetes, and Hyacinth. 

Water colours ; 7£ X 4J in. 

8. Three on one mount, roy., viz. : — 

(a) Columbine and Anemones. 
Water colours ; 7 x 4 J in. 

(b) Turk's Cap, Anemone, and Pansy. 
Water colours ; 7 X 4£ in. 

(o) Anemone, Tagetes, and Hoop Petticoat. 
Water colours; 7 X 4 J in. 



94 



Drawings of the British School. 



9. Three on one mount, roy., viz. : — 

(a) Columbine, Clematis, and Fritillary. 

Water colours ; 7 X 4 J in. 

(b) Convolvulus, Tulip, and Gladiolus. 

"Water colours ; 7 X 4J in. 

(c) Laekspue, Tulip, and Narcissus. 

Water colours ; 7£ X 4§ in. 

10. Three on one mount, roy., viz. : — 

(a) Anemone, Iris, and Composite. 
Water colours ; 7 x 4£ in. 

(6) Love-in-a-Mist, Tagetes, and Pink. 
Water colours ; 7& X 8| in. 

(c) Pink, Tulip, and Ranunculus. 
Water colours ; 7 X 4J in. 

11. Three on one mount, roy., viz. : — 

(a) Iris and Violet. 

Water colours ; 7x4| in. 

(b) Rose. 

Water colours; 7 J X 4 J in. 

(c) Tulip and Convolvulus. 

Water colours ; 7£ X 4 J in. 
All purchased December, 1878. 

MARTEN, John (worked about 1782-1808). Water-colour painter; 
worked at Canterbury ; exhibited landscapes at the Royal Academy. 

1. Italian Landscape. View on a river, with three children on the bank in the 
foreground, and a tree 1. ; on the further bank a town, and hill beyond ; two 
boats on the river. 

Indian-ink wash and pen; roy., 8 X 10 J in. 

2. Landscape with Figures. A group of men seated or standing in the fore- 
ground, with trees and cliffs 1. ; at some distance a troop of horsemen 
disappearing into a hollow beyond whicli are buildings on a hill. 

Indian-ink wash and pen ; roy., 8 X lOf in. 

3. Italian Landscape. A vast palace, with dome r., surrounded by a rampart 
planted with trees ; outside in the foreground, rough slopes, with several figures, 
two on horseback. 

Indian-ink wash and pen ; roy., 6& X 9| in. 

Nos. 1-3 were purchased May, 1870. 

These three drawings differ so much in style from the next as to seem the 
work of a different hand. These may, however, be copies after some eighteenth- 
century master, or early exercises. 

4. Hill and Plain. View on the slope of a hill, on the brow of which, r., is a 
tower with a flagstaff near ; cattle on the slope among trees ; and beyond, 1., a 
great plain (the Weald of Kent?) and distant hills. Signed and dated 
J. Marten, 1807. 

Water colours and Indian ink ; imp., 12| X 18 J in. 
Purchased August, 1879. 



MARTENS, Conrad (worked about 1834-1845). Draughtsman; worked 
in Australia, New Zealand, and South America. 

[1-34] Views in Australasia and South America ; leaves of a sketch-book measuring 
about 9 x 12| in., mounted on royal mounts; in pencil, washed with Indian ink 
on drab paper, heightened with white. 



Conrad Martens. — Charles Martin. 



95 



1. Sydney fkom the Lighthouse. 

2. New Government House and Stables, Sydney. 

3. Government House, Sydney. Dated 1845. 

4. Wooloomooloo Bay, Sydney. 

5. "Wooloomooloo Bay and Part op Darlinghurst. Dated August, 1845. 

6. In the Domain, Sydney ; Wooloomooloo opposite. 

7. Part of Darlinghurst from Bosebank. 

8. 'Vaucluse,' seat of W. Wentworth, esq. 

9. Elizabeth Bay; seat of Alexander Macleay, esq. Dated Jan., 1845. 

10. Cunningham Monument, Botanical Garden, Sydney. 

11. Begent View, near Penrith, N. S. Wales. 

12. On the Wollondilly, Argyle, N. S. Wales. 

13. Wellington Valley, N. S. Wales. 

14. Mount Hay from the Bathurst Boad. 

15. Mount Victoria, on the Bathurst Boad. 

16. Mitchell Pass, Bathurst Boad. 

17. Mulgoa Valley. 

18. Nepean Biveb, above Mulgoa, N. S. Wales. 

19. Cabbage Palms, Illawarra, N. S. Wales. 

20. Hume's Crags, on the Gloucester, N. S. Wales 

21. The Buchan Mountain, on the Gloucester. 

22. Penshurst, on the Paterson Biver. 

23. Brush at Brisbane Water. 

24. Eucalyptus, Australia. 

25. kororarika, bay of islands, new zealand. 

26. Cook's Harbour, Island of Eimeo. 

27. Part of Valparaiso from the Quebrada Elias. Dated 1845. 

28. In the Almendral, Valparaiso. 

29. Quebrada de Sant' Agustin, Valparaiso. 

30. Church of San Francisco, Valparaiso. 

31. Quebrada Sant' Agustin, Valparaiso. 

32. Quebrada de Sant' Elias, Valparaiso. 

33. Lowe's Channels, Straits of Magellan. Dated June 10, 1834. 

34. Monte Video from the South. 

All purchased November, 1868. 



MARTIN, Charles (worked about 1834-1891). Painter ; son of John 
Martin ; exhibited portraits at the Royal Academy and elsewhere 
1834-1891. 



Portrait of William Mulready, B.A. Three-quarter length, standing, turned 
to front and looking full, eye-glass in r. hand. 

Pencil ; roy., 6§ x 4£ in. 

Lithographed in the ' Fine Arts Quarterly Beview,' Vol. I., p. 380, as the work 
of Mulready himseif, and as drawn in 1836. In the same review, however, 
Vol. II., p. 404, is a letter from Martin claiming the authorship of the drawing, 
and stating that it was made in 1 844 when the artist was ' very young.' 

For Mulready'e biography, see below under his name. 

Purchased December, 1876. 



96 



Drawings of the British School. 



2. Portrait Sketch op W. M. Thackeray. Sketch of the novelist proposing a 
toast at a dinner table ; he stands turning towards the 1. Signed C. M., and 
inscribed Thackeray at Grant Bell's, July, 1853. 

Pencil ; roy., 9 J x 7 in. 

This sketch was made a few months after Thackeray's return from his 
lecturing tour in America, the year after the publication of ' Esmond.' For 
other portraits of him see under Richard Doyle and Samuel Laurence. 

3. Portrait of Lady Morgan. Whole length, seated with head leant on the 
back of a chair, the face in three-quarters ; looking up ; with one of her works, 
* The Book Without a Name,' on her lap ; in widow's weeds. Signed C. M., 
and inscribed Lady Morgan, June, 1844. 

Pencil ; roy., 6£ x 4£ in. 

Sydney Owenson, b. about 1783 and brought up in Dublin, became famous by 
her novel ' The Wild Irish Girl,' published 1806, and was championed by the 
' national ' party ; published other romances and works on France and Italy, 
which provoked political controversy and were much read; married 1812, Sir 
T. C. Morgan, a doctor, who died 1843, the year before the present sketch was 
made ; d. 1859. 

4. Portrait of Sir John Bowring. Whole length, seated towards the 1. in an 
arm-chair reading a letter ; head almost in profile looking 1. ; behind 1., David's 
bust of Bentham. Signed C. M., and inscribed May 18th, 1844. John Bowring. 
Sketched in Bentham's house. 

Pencil ; roy., 6§ x 4f in. 

Sir J. Bowring, b. 1792, became early proficient as a linguist, entered business 
1811, and travelled for commercial purposes over most of Europe; editor of the 
' Westminster Review,' founded by Bentham 1824, and a recognised leader of the 
Philosophic Radicals (see Vol. II., p. 56, note on No. 73 of Doyle's sketches) ; 
published several volumes of translations from the poetry of the less known 
literatures, and wrote effectively on economic reform ; M.P. for the Clyde 
Burghs 1835-37 and for Bolton 1841-47, when he became consul at Canton; 
plenipotentiary to China 1854-59 ; d. 1872. 

5. Portrait of Bryan Waller Procter. Whole length, seated towards front and 
r., with hands resting on the arms of his chair, face full and looking full. 
Dated March 24, 1 84[4 ? ] . Signed C. M. 

Pencil ; roy., 6| X 4| in. 

Bryan Waller Procter, b. 1787, writer and lawyer, attached himself to the 
London literary circle to which Leigh Hunt and Lamb belonged ; wrote narrative 
and dramatic poems, but is best known by his songs, published under the 
pseudonym of Barry Cornwall; d. 1874. 

6. Portrait of the Rev. Richard Harris Barham. Whole length, seated towards 
the 1., the face in three-quarters turned 1., and looking 1. Signed C. M., and 
inscribed Tlie Rev. Harris Barham, March 5/45. 

Pencil ; touched with red chalk on the face ; roy., 5£ X 4 J in. 

Richard Harris Barham, b. 1788, took orders 1813 and became minor canon of 
St. Paul's 1821 ; wrote a few novels, but is now only remembered by the 
'Ingoldsby Legends' (1840), which achieved instant success; died June, 1845, 
three months after this drawing was made. 

Nos. 2-6 were purchased May, 1898. 



MARTIN, Elias, A.R.A. (b. about 1740, d. 1811). Painter and 
engraver; born in Sweden; came to England about 1766; elected 
A.R.A. 1771 ; exhibited (1769-90) landscape views, portraits and 
domestic subjects; worked in Stockholm 1780-1790; died at 
Stockholm. 

1. Three on one mouDt, roy., viz. : — 

(a) Sketch for a ' Holy Family.' The Virgin and Saint Elizabeth meeting, 
with the Infant Christ and St. John embracing each other. 

Pen and Indian ink, with slight Indian-iuk and water-colour wash : 
H X 7| in. 



Elias Martin. — John Martin. 



97 



(b) Mary and Elizabeth at the Tomb. Two half-length figures, one looking 

over the shoulder of the other. Inscribed Mary and Elizabeth at the tomb. 
Pen and Indian ink, with water-colour and Indian-ink wash ; 7 x 5J in. 

(c) Sketch for an Illustration to a Book. Three ladies in semi-classical 

costume, coming down a path with a steep hillside behind them ; the one 
in the centre has a troubled expression and the one at the r., taking her 
hand, smiles and points toward the valley below. Inscribed Tliey are going 
down hill. 

Pen and Indian ink, with water-colour and Indian-ink wash ; 7 X 5§ in. 

Purchased January, 1888. 

MARTIN, John (b. 1789, d. 1854). Painter; bora near Hexham; 
apprenticed to a coach-painter ; came to London 1806, and became 
well known for his series of grandiose ' historical landscapes,' the 
most famous of which was ' Belshazzar's Feast ' (1821) ; painted also 
landscapes in water colours, and engraved some of his own works ; 
drew illustrations to Milton ; worked chiefly in London. 

1. Landscape with Fioures. A hollow among wild mountains ; in the foreground 

a ridge of rock on which a warrior is defending his wife and two children witli 
an axe from a pack of wolves climbing from the hollow 1. ; a wounded wolf 
is falling headlong. Signed J. Martin. 
Sepia ; roy., 7f X 10| in. 

2. Landscape with Figures. Apparently a companion scene to that just des- 
cribed. The warrior with his family are in the foreground, near an oak tree r., 
on a rocky ridge overlooking a great prospect of wood and lake and distant 
mountains, bathed in evening light ; he stands looking down on his wife, who 
sits holding her baby to her breast, while the other child sits beside her. 
Signed J. Martin. 

Sepia; roy., 7g X 10| in. 

Nos. 1 and 2 were purchased July, 1887. 

3. An English Landscape. A path through a fence into a field partly over- 

shadowed by a group of elms opposite, and enclosed by a hedgerow 1. ; distant 
woods r. Signed and dated J. Martin, 1840. 
Water colours; roy., 10 X 13$ in. 

4. Coast Scene and Thunderstorm. View of gentle slopes stretching with open 

fields and scattered windmills to the sea 1. ; in the distance a long headland, 
probably Bcachy Head, and nearer a low ness ; two shepherds and flock near 
the foreground ; over all, a sky of contorted and threatening rain clouds with 
a distant white gleam upon the sea. Signed J.M. 

Water colours ; roy., 6 J x 9 J in. 

Nos. 3 and 4 were purchased May, 1891. 

5. Proposed Triumphal Arch across the new Eoad from Portland Place 

to Regent's Park. View looking west along the Marylebone Road, 
spanned near the foreground by the semi-circular arch, surmounted by a 
pillar with reliefs of battles and a statue (of Wellington ?) at the top ; a 
troop of Horse Guards coming along the road, and men and women on Iho 
pavements. Signed and dated John Martin, 1820. 
Sepia ; imp , 13§ x 19£ in. 

6. Side view op the same Arch. View from inside the park railings a little to 
W. of the arch, up the side of which are broad steps with groups of people 
going up and down ; other groups in the foreground ; beyond, Park Crescent 
and Portland Place. Signed and dated J. Martin, 1820. 

Sepia ; imp., 12J x 17J in. 

Nos. 5 and 6 were purchased March, 1867. 

7. Study of Trees. Two trees blown by the wind ; plains and sea beyond ; two 
figures near the trees 1. 

Pen and sepia ; 5| x 7f in. 

Inserted in Vol. VI. (No. 130) of the interleaved Academy Catalogues, 
presented by J. H. Anderdon, Esq., November, 1867. 
vol. in. H 



98 



Drawings of the British School. 



MASKINS, 

known. 



(worked about 1743). Draughtsman; biography un- 



1. Portrait op a Gentleman. Head and shoulders in full face, eyes looking full, 
lips parted, wearing cap. Signed on the back, Maskins, fe. Jamaica, April 9, 
1743. 
Pencil on vellum ; oval, 3J X 2§ in. 

Inseited in Vol. I. (No. 74) of the interleaved copy of the Society of Artibts' 
Exhibition Catalogues, presented by J. H. Anderdon, Esq., 1869. 

MATHEWS, Charles James (b. 1803, d. 1878). Actor, dramatist, 
architect and draughtsman ; son of Charles Mathews the actor ; born 
in Liverpool ; pupil of Augustus Pugin, and practised for some years 
as an architect ; from 1835 till death connected with the stage as 
manager, dramatist and actor, and very popular and celebrated as a 
light and brilliant comedian ; his plays were mostly adaptations. 

1. Scuola di San Marco, Venice. View looking down a canal, with the facade 
of the Scuola r. ; gondolas in the foreground moored by the piazza in front of 
the Scuola, and near a bridge which crosses the canal. 

Water colours and body colours, with pen outlines, on drab paper ; roy., 
12f x 10J in. 
Purchased November, 1881. 

2. Two on one mount, roy., viz. : — 

(a) Kochester Castle. The keep, seen beyond a cottage r. and trees in a 
held 1 ; a shed 1. in the foreground, and two men at the cottage door. 

Signed and dated C. Matheus, 1839. 
Sepia wash and pen ; 4J x tij in. 

(b) Dover. View from the beach, looking across the bay to the castle cliffs 

and the town below ; a fishing smack and fishermen on the beach, and 
boats on the water. 

Sepia ; roy., 5 x 7f in. 

Purchased May, 1894. 

MATTHEWS, C. H. (worked about 1836-1851). Draughtsman; 
biography unknown. 

[Nos. 1 — 31]. Drawings in the Crace Collection of London Views, purchased 
November, 1880. 

1. The Old Cheesecake House, on the North side of the Serpentine. Signed 
and dated C. R. Matthews, 1841. 

Water colours and pen ; 5} x 1\ in. 
No. 27 in Portfolio IX. 

2. Old Houses, North side op Smithfield Market. Dated 1845. 

Sepia; 5J X 6 in. 

No. 64 in Portfolio XXVI. 



3. Old Houses in Cloth Fair, Smithfield. Dated 1845. 

Sepia ; 8f X 5f in. 

No. 99 in Portfolio XXVI. 

4. Bre*.k-Neck Stairs, Green Arbour Court, Old Bailey. 

Sepia ; Of x 5J in. 

No. 73 in Portfolio XXVII. 



C. H. Matthews. 



99 



5. The Eyre Arms, St. John's Wood. 
Sepia and water colours ; 3J x 5 in. 
No. 90 in Portfolio XXX. 

G. Old Bagnigge Wells Tea Gardens. 
Sepia; 4 x 5f in. 
No. 87 in Portfolio XXXI. 

7. Lady Owen's Free School, 1839. 

Sepia ; 4£ x 5J in. 

No. 16 in Portfolio XXXII. 

8. Lady Owen's Free School, St. John's Street Eoad, rebuilt 1840. 

Sepia ; 4 J x 6| in. 

No. 17 in Portfolio XXXII. 

9. Old Merlin's Cave, near The New Eiver Head, Kosamgn Street. 

Sepia ; 4£ x G£ in. 

No. 70 in Portfolio XXXII. 



10. The Old Cottage, Sadler's Wells Yard. 
Sepia ; 4 X 5 J in. 
No. 92 in Portfolio XXXII. 



Taken down 1849. 



Signed 



11. The Hdgh Middleton Tavern from Sadler's Wells. 

Sepia ; 4£ x 5f in. 

No. 93 in Portfolio XXXII. 

12. The Old Angel Inn, Islington. 

Water colours ; 4J x Gf in. 
No. 97 in Portfolio XXXII. 

13. View taken from the Angel Inn, looking down the City Eoad. 
and dated C. 11. Matthews, 1841. 

Water colours ; 4g x 7£ in. 
No. 101 in Portfolio XXXII. 

14. The Old Hare and Hounds Inn, Islington. 

Sepia ; 4£ x GJ in. 

No. 106 in Portfolio XXXII. 

15. The Three Old Hats Public House, Islington. 

Sepia; 5^ x 4£ in. 

No. 110 in Portfolio XXXII. 

16. House, corner of Camden Street, High Street, Islington, 1851. 

Sepia ; 3f x 5 in. 

No. 112 in Portfolio XXXII. 

17. Old Buildings, and Marshall's Daiky, North side of Islington Green, 
1839. 

Sepia ; 4J x 6 in. 

No. 113 in Portfolio XXXII. 

18. View of Islington Green. 

Sepia ; 4.J x 5f in. 

No. 115 in Portfolio XXXII. 

19. Fisher's House, Lower Street, Islington, Garden View, 1840. 

Sepia ; 4£ x 6 in. 

No. 121 in Portfolio XXXII. 



20. The Shepherdess Beer House, Queen's Head Lane, Islington, 
Sepia ; 4 x 5J in. 
No. 129 in Portfolio XXXII. 



1850. 



21. Colebrook Eow beside the New Eiver. 
1841. 
Water colours ; 5 x 8 in. 
No. 130 in Portfolio XXXII. 



Signed and dated C. H. Matthews. 



H 2 



100 



Drawings of the British School. 



22. Angler's Gardens, Frog Lane, Islington. 

Sepia ; 4£ x 6£ in. 

No. 133 in Portfolio XXXII. 

23. Old Mills, near the Rosemary Branch, Islington, 1836. 

Sepia ; 4 X 6J in. 

No. 138 in Portfolio XXXII. 

24. The Pied Bull Public House, Islington. 

Water colours ; 4J x 7 in. 
No. 144 in Portfolio XXXII. 

25. View taken from the Tower op Islington Church. 

Sepia : 6£ x 10£ in. 

No. 156 in Portfolio XXXII. 

26. Laycock's Dairy and Cattle Layer, Upper Road, Islington, 1839. 

Sepia ; 4f x 6J in. 

No. 158 in Portfolio XXXII. 

27. Canonbury Lane, and Site op Canonbury Square, 1820. 

Water colours ; 4 x 7 in. 
No. 178 in Portfolio XXXII. 

28. Sir Abraham Newland's House, Highbury Place, Highbury. 

Sepia ; 4J x 5| in. 

No. 183 in Portfolio XXXII. 

29. Sluice House Tavern, Islington, 1836. 

Sepia ; 4 x 6J. 

No. 185 in Portfolio XXXII. 

30. Old Houses and Hercules Brewery, Hollow ay, 1844. 

Sepia ; 4£ x 5£ in. 

No. 188 : in Portfolio XXXII. 

31. Old Building, near the Cock Public House, Holloway. 

Sepia ; 4J x 5£ in. 

No. 189 in Portfolio XXXII. 

32. The Devil's or Du Val's House, Holloway. 

Water colours ; 4£ X 7| in. 
No. 190 in Portfolio XXXII. 

33. The White Conduit Gardens, Islington, 1832. 

Sepia ;4x7J in. 

No. 204 in Portfolio XXXII. 

34. View of Busby's Folly, Pentonville. Copied from a view of 1731. 

Water colours ; 2f x 4£ in. 
No. 212 in Portfolio XXXII. 

35. White Conduit House Hotel and Tavern. 

Water colours ; 4f x 7£ in. 
No. 208 in Portfolio XXXII. 

36. The Chalk Farm Tavern, near Primrose Hill, 1834. 

Sepia ; 4 x 5£ in. 

No. 89 in Portfolio XXXVI. 



MEDINA, Sir John Baptist (b. 1659, d. 1710). Portrait painter; 
born in Brussels, of Spanish family ; pupil in Brussels of F. Du 
Chatel ; worked in London 1686-88, afterwards in Scotland, where 
his portraits are numerous ; died in Edinburgh ; drew illustrations 
for Milton and Ovid, which were engraved. 



Sir J. B. Medina —H. S. Melville. — P. Mercier. 



101 



Study fob a Pokthait of Grinling Gibbons. Head and shoulders in full 
face, the eyes looking a little up and 1. Signed J- Medina, Dt. Inscribed on 
the paper in which the original sheet has been inlaid, J. Medina. Eques ad 
Vivum delin. G. Gibbons, sculptor. 

Red and black chalk on toned paper heightened with white ; roy., 9£ X 1\ in. 

For Gibbons' biography, see in this Catalogue under his name, Vol. II., p. 214. 

Purchased February, 1852. 

Study for a Portrait of the Earl of Carnwath. Bust in an oval, turned 
r., the face in three-quarters turned r. but looking full ; full wig and armour. 
Inscribed De Medina, feet., Bob. Dalziel, Earl of Canwarth. 

Indian-ink wash, strengthened in places with a pen, on blueish paper 
heightened with white ; roy., 11| X 8 in. 

Robert Dalzell, 6th Earl ot Carnwath, Jacobite leader, d. 1737. 

Purchased June, 1881. 

Study for a Portkait of a Young Man. Head in three-quarter, face turned 
1., with flowing curly hair. 

Black chalk on drab paper, heightened with white; roy., 11 X 9 in. 

Formerly attributed to Kneller, but having no essential characteristic of 
that master's manner, and almost certainly by Medina. 

Purchased October, 1870. 



MELVILLE, Harden S. (worked about 1837-1879). Painter; worked 
in London ; exhibited at the Royal Academy and elsewhere, chiefly 
domestic subjects (1837-79). 

1. Monument to Father Mathew. Front view of a statue of Father Mathew 
in travelling dress, holding out his hand in blessing. Inscribed Drawn by 
H. S. Melville, 1863. 

Pencil; roy., 11J x 7 in. 

Probably drawn from the statue by Foley at Cork. 

Theobald Mathew, temperance reformer, b. 1790 in Ireland, worked for many 
years with great and growing influence as a Catholic priest among the poor of Cork; 
signed the pledge of total abstinence 1838, and converted thousands to the cause 
of temperance, effecting an extraordinary reform in the habits of his country- 
men ; visited London 1813, and the United States 1849, inspiring wide 
enthusiasm ; d. 1856. See also Vol. II., p. 78, No. 222 of drawings by J. Doyle. 



MERCIER, Philip (b. 1689, d. 1760). Painter; born at Berlin, of 
French parents ; studied under Antoine Pesne ; visited Italy, France 
and Hanover, where he won the patronage of Frederick, Prince of 
Wales ; came to London 1716, and became well known for his 
portraits and conversation pieces ; painted in a manner derived from 
Watteau and influenced by Hogarth, to whom his works are often 
credited ; many of his pictures were engraved in mezzotint. 



1. Study of the Figure of a Young Man. 
his hands clasped behind his back. 
Black chalk ; roy., 8| x 3£ in. 



A young man seen from behind, 



Study for the Figure of a Waiter. An aproned waiter with shaven head 
uncovered by a wig turning towards the 1. with a deprecatory gesture of the 
hands. At each side is a separate study for each hand. 

Black chalk ; (cut at the corners) roy., 10 J X 7 in. 

Nob. 1 and 2 bequeathed by William Fawkener, Esq., 1799. 



102 



Drawings of the British School. 



3. Heidegger in a Rage. The subject of this drawing is the story of a practical 
joke played by the Duke of Montagu upon Heidegger, the manager of the 
opera, famed for his ugly face. A mask was taken from Heidegger's features 
after he had been made drunk, and a man was hired to impersonate him on the 
night of the next masquerade. No sooner had the real Heidegger ordered God 
savs the King, and turned his back, than the false one ordered Charley over 
the water. A scene ensued, and the joke becoming serious, the duke ordered 
his man to unmask. ' Heidegger retired in great wrath, seated himself in an 
arm-chair, furiously commanded his attendants to extinguish the lights, and 
swore he would never again superintend the masquerade unless the mask was 
defaced and the mould broken in his presence.' (John Ireland's ' Hogarth 
Illustrated,' Vol. III., p. 315.) 

In the drawing Heidegger is seated in a chair facing the front, and pointing 
to the flambeaux on the wall 1., which an attendant with a pair of snuffers is 
rushing from the r. to extinguisli ; at the door 1. three figures appear in 
agitation, the foremost holding out a couple of keys, while in front of him a 
man with a mallet in his belt (for breaking the mould of the mask) bends before 
his master in deprecation ; two masks and a wand lie at Heidegger's feet. 1 

Black chalk; roy., 9g X 12£ in. 

Engraved in stipple (signed I.M., Sc, and with the addition W. H. Deliri) 
for John Ireland's ' Hogarth Illustrated,' Vol. III., p. 314. Ireland says : ' The 
spirited sketch from which this is copied has been thought the work of 
P. Mercier ; but some of my subscribers thinking it bore a strong resemblance 
to Hogarth, I, at their request, submitted it to public opinion.' It should be 
noted that this facsimile was not submitted to the public till Hogarth's 
signature, W. H. Delin, had been boldly added. Since the publication of 
Ireland s work in 1797, the drawing has generally passed as Hogarth's un- 
challenged, Mercier's name and work being little known ; but the sole authority 
for the attribution is the fancy or wish of the subscribers just quoted, and as 
the style has no real resemblance to Hogarth's, the original and doubtless 
correct ascription of the drawing has been here restored. 

Purchased April, 1858. 

4. A Musio Party. A group of four ladies and four gentlemen on a terrace ; in 

the centre a spinet, at which a lady is playing 1., one of the men standing, 
another seated, behind her ; in front of the instrument are two ladies beatcd, 
one with a sheet of music in her hands, while a gentleman leaning on the back 
of the other lady's chair, and speaking to her, points towards the background ; 
at the extreme r. stand auother lady and another gentleman. 
Red chalk, with sepia and Indian-ink wash ; roy., 8J X 12 in. 

5. A Card Party. A drawing-room with two tall windows 1. and a fireplace at 
the back r. ; round a card-table two ladies and two gentlemen are seated, one of 
the ladies turning to speak to a man seated behind her, over whose chair, at 
the extreme r., another man is leaning ; on the other side of the table are two 
men, each advising one of the players; and more in the background, near the 
chimney-piece, stands a lady, against whom is written Lady Emma ('?), while 
at the 1. the host, who is standing near the table, turns to greet a newly-arriving 
guest. Under the nearest player is written Capt., over the hosts head is also 
Cap., over the next to him 8 1 ' Bob, and over the lady playing cards at the 1. is 
Miss Ha r . . . (?). Another name is undecipherable. 

Red chalk, with Indian-ink wash ; roy., 8f x 13£ in. 
Nos. 4 and 5 were purchased May, 1890, at the Percy sale. 

6. Children playing at a Table. A round table, at which a boy and girl are 
sitting, and an elder girl, at the 1., is s'anding; the last has just spun a 
teetotum on the table, the little girl holds up a card, and the boy is writing 
clown the si ore. 

Black chalk, with Indian-ink wash ; roy., 7 X 7f in. 

Purchased May, 1885, at the sale of the Cheney Collection, where it was 
attributed to Benjamin West, and said to represent Joseph Nollekens and his 
brother and sister — an impossible assumption in view of the costumes repre- 
sented and the style of the drawing, which is entirely in the manner of 
Mercier. 

1 For a more elaborate description, see Ihe Museum Catalogue of Political and Personal 
Satires, Vol. III., Pt. I., No. 2467. 



Caroline Metz. — Conrad Martin Metz. 



103 



METZ, Caroline (worked about 1795). 
daughter of Conrad Metz. 



Painter ; presumed sister or 



The Forsaken Lady A lady in a white dress sitting with tearful expression 
on a bank beneath a rock, with a sheep by her side, and a goat browsing on 
leaves behind her ; a waterfall and trees 1. Signed and dated C. M., 1795. 

Water colours (nearly monochrome), with pen outline in parts; roy. (with 
border), 14§ x 10 in. 

This drawing has been attributed to Caroline Metz, but it is not certain that 
an artist of this name existed. According to Redgrave, she exhibited fruit and 
flowers at the Academy 1773-74, and afterwards subjects from hibtory or 
mythology. The Academy catalogue, however, gives the name for the first years 
as Miss Metz (whom it is more natural to identify with Gertrude Metz, daughter 
of Conrad, and well known as a flower painter), while for the later years the 
name is given as C. Metz or C. M. Metz, who is presumably Conrad Martin 
Metz. S., said to be Sophia, Metz exhibited in 1791. As the name Caroline 
has been preserved in tradition, the present drawing has been retained under 
her name, but it seems quite as likely that Conrad is the real author; ho drew 
similar subjects in this style and signed both C. Metz and C. M. Metz. 

Purchased May, 1890, at the Percy sale. 



METZ, Conrad Martin (b. 1755, d. 1827). Engraver and painter; 
born at Bonn ; came to London and studied under Bartolozzi ; best 
known by his numerous imitations and facsimiles of drawings by the 
old masters ; apparently the C. M. Metz who exhibited drawings of 
mythological subjects at the Royal Academy 1780-1794; worked in 
Rome from 1801 for some years; died in London. 

1. Design for Frontispiece to Raymond's ' History of England.' Britannia 
(supported on one side by Wisdom and Strength, Hnd on the other by Justice and 
Plenty) crowning History with a wreath of Laurel, beneath the latter of whom 
are represented Genius and Industry unfolding the records of Antiquity. Over 
Wisdom and Strength are the Muses, above whom is Fame blowing her trumpet, 
and on the other side, under Justice and Plenty, the emblems of Commerce aud 
Navigation. 

Indian ink; roy.. 6£ X 4f in. 

Engraved by Grignion, with the above-quoted description below. The print 
is mounted opposite the drawing. 

2. Sir Roger Ccrtis Saving the Lives of Spaniards at Gibraltar. A man- 
of-war's boat, into which the sailors, under the direction of Curtis, are lifting 
with their hands or with ropes some half-drowned (Spaniards ; in the distance 1. 
are fire-ships blazing. 

Iudian ink ; roy., 6 X 3J in. 

Apparently cut down at both sides, as the engraving: by A. W. Warren 
mounted opposite the drawing, includi s other boats, etc Sir Roger Curtis held 
an important share in the defence of Gibraltar, 1781-82. 

3 Lord Chatham seized with a fit in the House of Peers previous to his 
death. Chatham falling back in the arms of his son, while the peers crowd 
round him with gestures of concern. 

Indian ink; roy., 6| x 4 in. 

Engraved by Taylor for Raymond's 'History of England.' The print is 
mounted opposite the drawing. 

4. George IV. as Prince of Wales. Whole-length figure of the prince with 1. 
hand extended and holding his hat, r. hand on sword, signed C.Metz, dt. 
Indian ink ; roy., 7£ X 5 in. 

.5. Queen Charlotte. Whole-length figure standing turned r. and looking r., in 
royal robes ami holding crown and sceptre. 

Iudian ink; roy., 7^ X 4 J in. 

Engraved by Grignion for Raymond's 'History of England.' The print is 
mounted opposite the drawing. 



104 



Drawings of the British School. 



6. Destruction of the Temple at Jerusalem. Koman soldiers massacring the 
Jewish priests, in the precincts of the Temple, which is burning in the back- 
ground ; in the foreground a soldier stabbing a falling priest. Signed C. M. 
Metz Dt. 

Indian-ink wash and pen ; roy., 1\ x 4£ in. 
Nos. 1-6 were purchased February, 1803. 

7. The Fatal Wounding of Lord Robert Manners at the Battle of Dominica, 
12th April, 17S2. Lord liobert on the quarter-deck of his ship, the Resolution, 
falling back in the arms of his officers. 

Indian ink ; roy., 6j x 4 in. 

8. The Defence of Gibraltar (?). A commander on a platform of a fortified rock 
giving instructions to bis officers for its defence against a fleet approaching r. 

Indian ink ; roy., 6£ x 4 in. 

9. Louis XVI. Signing a Document. Louis XVI. sitting at a table under a 
canopy and signing a document, ministers and courtiers looking on. 

Indian ink ; roy , 6J x 4J in. 

10. Allegorical Design. Minerva inspiring an author, whose feet trample Error, 
while a cupid brings a laurel for his head. 

Indian ink ; roy., 5£ X 3 in. 

11. Allegorical Design; The Genius of Jewish History. A laurelled sage 

writing while Truth, seated on clouds, casts light upon him from her mirror and 
points upward to the beatifud forms of David, Adam and Eve, and other 
patriarchs ; at the r. a prophet walks, looking with horror at the storming of 
Jerusalem by the Romans, which fills the background. 
Indian ink ; roy., 7£ x 4f in. 

Attributed to C. M. Metz. 

Wholesale Execution of Jacobites. A gallows from which four men are hanging, 
surrounded by a crowd of Highlanders ; in the foreground a group sustaining a 
fainting woman and child. 
Indian ink ; roy., 6£ x 4J in. 

Peasants pot to Death by Soldiers. A barn filled with men and women 
struggling with soldiers ; others on the roof fired at by a squad in the 
foreground. 

Indian ink; roy., 6| x 41 in. 

Marcus, Bishop of Arethusa, stung to death by Wasps. A bishop, stripped, 
bound and hung in a basket, stung by a swarm of wasps ; his mitre and robe 
lying near ; soldiers in the background. 

Indian ink; roy., 6f x 4J in. 

This drawing has been attributed to Stothard, but bears no trace of his style. 

All purchased February, 1863. 



MEYER, Hendrik (b. 1737, d. 1793). Painter; born at Amsterdam; 
worked at Haarlem till 1788, afterwards in London; painted land- 
scapes and cattle, chiefly in water colour, in a style founded on that 
of Isaac Van Ostade. 

1. Dutch Landscape with Cattle. A leaning oak in front of a cottage r. with 
a pond in the foreground at which a cow and some sheep are drinking; a view of 
harvesters in a cornfield and a distant town beyond ; before the cottage door a 
girl sits talking to a reaper, while in a shed attached to the cottage 1. a man is 
threshing 

Pen and Indian ink and water-colour tint ; roy., 9£ X 12g in. 

Purchased July, 1878. 



Henry H. Meyer. — G. H. Miles. — Sir John Everett Millais. 105 



MEYER, Henry Hoppner (b. about 1782, d. 1847). Portrait painter 
and engraver ; born in London ; nephew of Hoppner, and pupil of 
Bartolozzi ; engraved in stipple and mezzotint ; painted portraits in 
oils and water colours, but in later life was chiefly known for his 
portrait drawings; foundation member 1824, president 1828, of the 
Society of British Artists ; worked in London. 

1. Portrait of John Gibson, E.A. Bust portrait of the sculptor in old age, in 
profile, looking r. Inscribed by a later hand John Gibson, R.A., obt. 1866. 

Pencil, with slight tint on the face ; roy., llf X 9 in. 
See under Gibson in this Catalogue, Vol. II., p. 215. 
Purchased August, 1871. 

2. Portrait of David Roberts, R.A. Bust, in three-quarters, nearly full face, 
eyes looking full. Signed Henry Hoppner Meyer. 

Pencil, with tint on face ; roy., 12| x 8| in. 
See under Roberts in this Catalogue. 
Purchased August, 1875. 

MILES, G. H. (worked about 1824-1840). Painter ; chiefly of portraits ; 
worked in London ; exhibited at the Royal Academy and elsewhere, 
1824-1829. 

1. Edward Oxford shooting at Queen Victoria, June 10, 1840. The Queen 

and Prince Consort driving in a phaeton with four horses and postillions along 
Constitution Hill towards the r. ; Oxford standing opposite the horses' heads, in 
front of the Green Park railings, presents his pistol, while a policeman runs up 
to seize him ; at the 1. one of the Queen's attendants reins in his horse, and a 
man on a pony takes off his hat. Signed and dated G. H. Miles, 1840. 

Water colours ; roy., lOf X 15J in. 

This drawing represents the Queen as driving down Constitution Hill, but 
the attempt was really made as she drove up the hill towards Hyde Park. 

Purchased August, 1871. 

2. HCNGERFORD MARKET ON THE DAY OF OPENING, JULY 2, 1833. With a balloon 

ascending, watched by the crowd below. Signed and dated G. Miles, 1833. 

Water colours and pen; 8| x 10£ in. 

No. 165 in Portfolio V. of the Crace Collection of London Views, purchased 
November, 1880. 

MILLAIS, Sir John Everett, P. R.A. (b. 1829, d. 1896). Painter, 
etcher, and designer of book-illustrations ; born at Southampton, of a 
Jersey family ; noted for extreme precocity of gift ; studied at the 
Royal Academy ; painted several subject pictures in the style of the 
day before 1848, when the ' Pre-Raphaelite Brotherhood ' was 
founded, and new aims transformed his art; exhibited ' Isabella,' 1849, 
followed by a series of pictures in the same manner ; elected A. R.A. 
1853, R.A. 1863 ; towards 1869 began to develop a broader, bolder, 
less intense, and less poetic style ; made a number of etchings from 
1850, and a great number of designs for woodcuts from 1855; elected 
P.R.A. 1896 ; worked in London and Scotland. 

1. The Pearl of Great Price. A sea shore; the merchant, attended by a young 
servant with an ass, only the head of which appears, arrives from the 1. bringing 
a heap of moneybags in his hand ; a tall fisherman coming out on his doorstep 
r. holds up the pearl in his fingers and lays a hand upon the money ; a dog is 
at his heel, his daughter stands beside him with a net in one hand while she 
lays the other on his shoulder, and his son on the further side stands with his 
hands on his hips and looks in wonder at the merchant ; beyond is the blue sea. 
Signed with monogram. 



10G 



Drawings of the British School. 



Pen and ink, with a very slight tint on the flesh, and blue on the sea; roy., 
6| X 4f in. 

An illustration to St. Matthew xiii. 45-46, ' Again, the Kingdom of Heaven is 
like unto a merchant man, seeking goodly pearls ; who, when he had found one 
pearl of great price, went and sold all that he had, and bought it.' 

Purchased April, 1900. 

2. The Deluge. Illustration to St. Matthew xxiv. 38, ' As in the days that 
were before the flood they were eating and drinking, marrying and giving in 
marriage, until the day that Noah entered into the ark, and knew not until the 
flood came.' Iuterior of a room with a window in the wall at the back, from 
which a man, holding open the shutters with both hands outstretched, looks out 
on the flood rising over the landscape, his hair blown by the wind. By him 1. 
stands an old woman with face turned to the marriage-party gathered in the 
room ; she points outside the window with her hand, and her dismay is com- 
municated to some of the party ; others are absorbed and oblivious. They are 
grouped round the edge of a horseshoe table, half seen in the for< ground, on to 
which a dog, scenting disaster, is climbing from the inner space, pushed back by 
the hand of a woman sitting at the extreme 1. Beyond this woman are three 
girls, the first standing and looking 1. towards someone unseen ; the second, 
seized with horror at the view through the window, is putting down a cup wiih 
one hand while with the other she touches the shoulder of the third girl, who 
bends over the table and looks up sideways r at the bride. The bride and 
bridegroom are seated together, be holds her hands in his raised hands and 
bends forward to kiss her, but she seems to hold him back as if troubled with a 
presentiment of evil ; her mother beside her 1. lays a hand on her hair and seems 
to rally her. Standing behind this group are an old man and woman, pre- 
sumably the father and mother of the bridegroom; the mother smiles tenderly 
on her son, but the father's face is turned to the woman at the window, as he 
lays an anxious hand on his son's arm. At the extreme r., in the foreground, a 
young woman sits with a pomegranate in her hands and looks across to the girl 
who pushes back the dog, as if speaking to her. 

Pencil, in great part highly fin shed with pen and ink ; roy., 9| x 16| in. 

Reproduced in J. G. Millais' ' Life of Millais,' 1899, Vol. I., p. 95. 

This drawing, perhaps the finest of the artist's Pre-Raphaelite period and one 
of the most original and impressive inventions of his whole career, is variously 
dated by Mr. J. G. Millais as 1849 and circa 1850. The design was intended 
to be carried out as a picture (it is squared out for transference to canvas), 
but was never painted. 

3. Study for ' Lorenzo and Isabella.' A dinner table set on a balcony ; at the 

1. side of the table Isabella's two brothers are seated, the nearest one thrusting 
his booted and spurred fout out viciously to kick a greyhound which leans its 
Lead against Isabella's knee ; she, seated with downcast eyes on the r. side of 
the table, is taking fruit fiom a plate offered her by Lorenzo, who sits next to 
her and g^izes at her with a lover's adoration; behind them stands a serving 
man, and seated beyond Lorenzo a woman's figure is sketched in and two other 
figures slightly indicated A second greyhound stands behind the elder 
brother's chair, not, as in the picture, sleeping underneath it. At the r., a slight 
pillar and arches, with a suggestion of foliage inscribed Passion Flowers. A 
boar's head and spears hang on the wall (not adopted in the picture). 

Pencil ; roy., 8f x 12^ in. 

The picture for which this is a study was planned in November, 1848, and 
finished in the spring of 1819, when it was exhibited at the Royal Academy; 
the first important painting of the artist's pre-Raphaelite phase. It is n^w the 
possession of the Corporation of Liverpool. Other figures were added in the 
final design ; two at the 1. bey >nd the two brothers, their heads only appearing, 
and at the r. six figures besides those of the lovers, instead of the three suggested 
in this study. 

4. Sketch for an etching intended for 'The Germ.' A narrow upright design, 
arched at the top. A girl with hair hanging over her shoulders stands in a 
garden, cutting with scissors a spray of jasmine, which grows up a wall at the 
r. ; a young boy stands beside her with his hands raised and appears also to be 
plucking a spray ; a swallow hangs on its nest under the eaves above. (Drawn 
on the margin of a print, part of aii architectural design appearing at the r.) 



Sir John Everett Millais. — J. Miller. 



107 



Pencil; roy., llf x 4$ in. 

Reproduced in J. G. Millais' 'Life,' Vol. I., p. 51. 

This study for an etching intended for ' The Germ,' but never executed, was 
made in 1849. 

5. Two on one mount, roy., viz : — 

(a) Study for ' Peace Concluded.' A wounded officer, home from the Crimea, 
lying on a sofa; his wife sitting beside him clasps his head to hers and 
holds his hand ; two children, one on each side of their mother, press near, 
witli toys in their hands; one holds a Noah's ark. At the 1., a slight second 
study of the heads of the husband and wife. Above, a study of a greyhound. 
Inscribed Violet Velvet. Times newspaper, Peace. Noah's Ark. 

Pencil ; 9 x 7 in. 

(b) Study fob ' Peace Concluded,' a Different Composition. The husband 

reclines on a sofa, with his head towards the r. ; his wife kneels on the floor 
beside and hides her head on his arm, kissing it ; at the r. the suggestion 
of another kneeling figure. On the same sheet (upside down) is also 
another tentative sketch for the two figures ; he sitting, she kneeling. 

Pencil sketch ; 6| X 9£ in. 

' Peace Concluded,' also known as ' The Return from the Crimea,' was 
exhibited at the Royal Academy, 1856. 

6. Two on one mount, roy., viz : — 

(a) Sketch for a Woodcut: 'The Good Samaritan.' The good Samaritan 
bending down 1. to raise the body of the robbed and wounded man in his 
arms, his ass standing by at the r. ; beyond, a path leading up hill to 
a wood. 

Pen and ink ; 2\ x 2J in. 

Reproduced in J. G. Millais' 'Life,' Vol. I., p. 405. 

(b) Study of the Ass, for the same Woodcut. 

Pencil ; 6 X 3$ in. 

Drawn in 1857. The woodcut is in reverse, and was published 1864, in 
' Tiie Parables of Our Lord,' designed by Millais. 

7. Study for ' Jephthah's Daughter.' Jephthah seated in a chair, wrapped in 
a long cloak, with his head bowed, eyes closed, and lips pressed to the head of 
his daughter, who sits on his knee with her arms about his neck, both his hands 
clasping hers; his shield rests against his chair; at the r. (pencilled only) 
are the departing figures of two woinm, one weeping, the other with her arm 
round her companion and looking back at Jephthah. 

Sepia and white over pencil ; roy., 9£ X llf in. 

Reproduced in J. G. Millais' ' Life,' Vol. II., p. 7. 

The picture was painted in l>-67, and exhibited at the Royal Academy that 
year, and contains several more figures than this sketch. 

Nos. 2-7 were purchased May, 1901. 



MILLER, J. (worked about 1781-1814). Topographical draughtsman; 
perhaps to be identified with one of several artists of the same name 
who exhibited towards 1800, but no sufficient data are available. 

[1-7]. Drawings in the Crace Collection of London Views, purchased November, 
1880. 

1. South-east Front op the Tower from the River, 1814. 

Water colours ; 6 x 9 in. 
No. 4 in Portfolio VIII. 

2. View of Old College Street, Westminster. With back view of the School 
and the old boundary wall of the playground, 1781. 

Water colours and Indian ink; 12 x 18 in. 
No. 57 in Portfolio XIV. 

3. Boundary Wall of Westminster School, 1795. 

Water colours and Indian ink ; 8 X 7 in. 
No. 58 in Portfolio XIV. 



108 



Drawings of the British School. 



4. "View in College Street, Westminster, 1795. 

Water colours and Indian ink ; 8 X 7 in. 
No. 59 in Portfolio XIV. 

5. Westminster Hall and Old Buildings adjoining. 

Water colours and Indian ink ; b\ x 7£ in. 
No. 75 in Portfolio XV. 

6. Whitehall, looking towards Charing Cross, 1796. 

Water colours and Indian ink ; 5| x 7J in. 
No. 32 in Portfolio XVI. 

7. Temple Bar and Entrance to The Temple, 1800. 

Water colours and pen ; 5J x 7£ in. 
No. 16 in Portfolio XIX. 



MILTON, Thomas (b. 1743, d. 1827). Engraver; son of John Milton, 
marine painter ; a follower and perhaps a pupil of Woollett; worked 
in Dublin, and engraved ' Views of Seats in Ireland ' ; returned to 
London 1786; worked for Macklin's 'Bible' and Boy dell's 
' Shakespeare ' ; died in Bristol. 

1. South front of Sir Gregory Page's House on Blackheath. A building 
in the classical style with a portico. Inscribed with title and signed Thos. 
Milton mensur : et [the rest cut off]. 

Indian ink, with pen outlines ; roy., 9| X 14 in. 
Purchased June, 1881. 



MITCHELL, Thomas (worked about 1763-1789). Amateur painter; 
Assistant Surveyor of the Navy ; ship builder and painter of marine 
subjects ; exhibited at the Royal Academy and with the Free 
Society of Artists, 1763-1789; worked chiefly in London. 

1. View op Harwich. View from the sea, the town lying 1., with a man-of-war 

on stocks in the dockyard, and a hulk on the beach beyond ; a line-of-battle 
ship and a sloop anchored r., and two boats in the foreground. Inscribed on the 
margin below A View of Harivich 1767. 
Indian ink; roy., 10J X 17f in. 

2. Kochester from the Dockyard. View of the city from across the Med way, 

which flows along the foreground ; an Admiralty yacht and two boats on the 
river. Inscribed on the margin below A View of the city of Rochester from the 
Dock-Yard 1767. 

Indian ink ; roy., 9 J x 18 in. 

3. Sheerness from the Nore. The mouth of the Medway, with Sheerness 1., seen 

from the Thames ; hulks of men-of-war in the harbour, and a cutter in the 1. 
foreground. Inscribed Sheerness from the Nore. 
Indian ink ; roy., 8| x 13| in. 

4. Gillingham Bridge, near Chatham. View looking up the Medway, sur- 

rounded by low hills ; three small vessels sailing up the river. Inscribed 
Gillingham Bridge near Gillingham Fort, Chatham. 
Indian ink ; roy., 9 x 13f in. 

5. Dover. View of Dover town and castle from the sea ; two ships of war beyond 
the headland r. and two cutters near the foreground. 

Indian ink ; roy., 8J X 13| in. 



Thomas Mitchell. 



109 



6. The Needles from the N. Inscribed West end of the Isle of Wight, 
from the North side. 24 June 1785. 

Indian ink; roy., 11 X 17J in. 



Needles 



7. Stonehouse, Plymouth. View in Stonehouse Pool, with boats by the houses 1. 
and two fishermen hauling nets on the shore r. ; war ships in the Hamoaze, and 
Mount Edgecumbe beyond ; moonlight. 

Indian ink; roy., 11£ x 18 in. 

8. Stonehouse. A -view from the same point as the last. Signed on a separate 
piece of paper Thos. Mitchell. 

Indian ink ; roy., 7f X 12 in. 

9. Mount Edgecumbe. View from the Sound, with ships in the Hamoaze r. 
Signed T. Mitchell. 

Indian ink ; roy., 9 X 34 in. 

10. Mew Stone, Plymouth. Seen from the Sound, with coast 1. ; two men-of-war 
and a boat in the Sound. 

Indian ink ; roy., 8§ X 13J in. 

11. The Cape op Good Hope. View of Table Bay, Sugar Loaf Island and Gallows 

Point from the sea. Inscribed The Cape of Good Hope, etc. 
Indian ink ; roy., 12f x 36J in. 

12. Two on one mount, roy., viz. : — 

(a) Landscape Study. A river with windmill and barn on the low bank r. 

Indian ink ; 4£ X 5£ in. 

(&) A Pobt in the Tropics. A harbour 1. with a town on a shore opposite, 
and hills behind ; buildings, palms and other trees on a foreshore 1. ; a 
sloop-of-war, a brig and smaller craft in the harbour. 
Indian ink; 7 J X llf in. 

13. A Fortified Harbour. View of a fort and dockyard from the harbour inside ; 
a ship sailing in from the sea 1. 

Indian ink; roy., 8| X 13f in. 

Nos. 1-13 were purchased October, 1882. 

14. Two on one mount, roy., viz. : — 

(o) At Sheerness. The hulk of a great three-decker, with smaller warships 
on each side of it, and boats plying near ; two other men-of-war in the 
distance r. and 1. 
Indian ink and white ; 4f X 6J in. 

(b) Greenwich Hospital. View looking up the Thames ; part of the hospital 

showing 1. with a number of vessels grouped together on the river, and two 
fishermen in a boat in the foreground. 

Indian ink and white ; 4§ x 6§ in. 

Purchased May, 1890, at the Percy sale. 

15. Westminster Bridge in 1789. View from the Lambeth shore, with the bridge 
r., and the Hall and Abbey opposite ; men unloading a barge in the foreground. 

Indian ink; imp., 11 J X 19 in. 

16. Plymouth from the Catwater. Catwater Harbour with Plymouth on the 

shore opposite, the citadel at the 1. ; a number of vessels anchored in the 
harbour, and a cutter sailing in from the 1., followed by a small lugger. 

Indian ink, with very slight w.'iter-colour tint ; imp., 9J X 20f in. 

Nos. 15 and 16 were purchased October, 1882. 

Other slight sketches by Mitchell are placed in a portfolio of prints and 
drawings relating to shipping. 



110 



Drawings of the British School. 



MITFORD, Bertram Osbaldeston (b. 1777, d. 1842). Amateur 
draughtsman ; of Mitford Castle, Northumberland ; High Sheriff of 
the county, 1835. 

1. Belfokd Eaces. Two grotesque nmnnikins, one riding a pig, the other a dog ; 
the former is in front. Inscribed Belford Baces, and signed Bertram Osbaldeston 
Mitford fecit. 

Water-colour sketch ; roy., 5§ x 9 in. 

Presented by Sir A. W. Franks, K.C.B., October, 1891. 

MONAMY, Peter (b. about 1670, d. 1749). Marine painter ; native of 
Jersey ; apprenticed to a house-painter on London Bridge, but 
became well known as a painter of shipping and murine subjects, 
founding his style on that of the Van der Veldes ; worked in London. 

1. Bums op St. Mary's Abbey, York. The Ouse, with sailing and rowing boats, 
and the ruins of the Abbey oa the further bank. 

Indian ink ; roy., 8f x 14£ in. 

Compare the drawing by Francis Place described above (No. 8 of Place's 
drawings), a view from the same point as this, made at about the same time. 

MOORE, Albert Joseph (b. 1841, d. 1893). Painter; born at York; 
son of W. Moore, portrait painter, and brother of Henry Moore, 
the sea-painter; came to London 1855 and studied at the Royal 
Academy ; exhibited natural history and sacred subjects, till 1865, 
from which year dates a long series of purely decorative pictures, 
distinguished for harmony of line and delicacy of colour ; executed 
also a number of wall decorations and ceilings. 

1. Study of Figures. Two girls in classical costume standing together with their 
backs turned, the one at the 1. having her arm round the neck of the other, who 
clasps her round the waist. 

Black and white chalk on brown paper ; roy., 12| x 8 in. 
Presented by Sidney Colvin, Esq., November, 1888. 

2. The Muses; Illustration to Milton's Ode on the Nativity. A decorative 
panel in three compartments, one above the other ; in each compartment a 
group of three Muses seated in contemplative attitudes, two holding lyres and 
one a scroll. Inscribed To be reduced by photography to a scale convenient to the 
book. 

Brush and Indian-ink outline over red chalk and pencil ; roy., 12§ x 7& in. 
Keproduced in illustration to the lines — 
' And with your ninefold harmony 
Make up full consort to the angelick symphony,' 
in an edition of Milton's Ode 'illustrated by eminent artists.' London, 1868. 
Purchased June, 1900. 



MOORE, Charles (b. 1800, d. 1833). Architectural draughtsman; 
elected Associate of the Water Colour Society, 1822, and exhibited 
at their gallery 1822-1828 ; worked in London, making architectural 
drawings for Britton's and Ackerman's publications. 



Interior of a Church. 

View under the dome, looking up the chancel. 

Moore. 

Pencil; imp., 18$ X 15 £ in. 

Purchased before 1837. 



Inscribed Drawn by Charles 



Jacob Moore. — Lady Mor daunt. — George Norland. Ill 

MOORE, Jacob (b. 1740, d. 1793). Landscape painter; born in Edin- 
burgh; pupil of A. Runciman; went to Rome about 1773, and painted 
subjects in the Campagna and neighbourhood, by which he was well 
known in his day ; died at Rome. 

1. Horace's Villa. A stream winding from the r. round the foot of a hill and 
along a valley towards a distant mountain,. under which the -villa stands; at the 
1. a man seated on the rock in the foreground and a woman with a pitcher on 
her head going up a path among woods. 

Water-colour tint and Indian ink ; imp., 14 x 19J in. 
Presented by Sir Walter C. Trevelyan, Bart., December, 1870. 

2. View near Eome. View from a hillside with a stonepine 1. looking down a 
wooded valley towards St. Peter's and ttie Campagna. 

Indian ink ; atl., 18 X 23 in. 
Purchased May, 1890, at the Percy sale. 

MORDAUNT, Lady (worked about 1800). Amateur painter; biography 
unknown. 

1. Mountain Landscape. A range of hills with a torrent in the r. foreground 
falling between tree-covered rocks and crossed by a footbridge, over whicli two 
men come from the r., one riding a donkey. 

Indian ink and pencil on gray paper ; roy., 9| x 12| in. 

Purchased May, 1877. 

MORLAND, George (b. 1763, d. 1804). Painter; son of Henry 
Morland, the painter ; studied at the Royal Academy ; employed by 
a picture dealer, to whom continual debt soon enslaved him ; noted 
as a boon companion and hard drinker ; celebrated for his pictures of 
rustic life and animals, but, in his earlier days especially, produced 
also many subject pictures of moral and sentimental interest, such as 
the series called ' Letitia or Seduction ' ; extremely popular through 
the great number of engravings published after his pictures, the best 
being by his brother-in-law, W. Ward, and his intimate friend, J. R. 
Smith ; one of the most prolific of painters, much of his work being 
produced in haste and often finished by other hands ; it was also 
extensively copied in his lifetime. 

1. Portrait of John Raphael Smith. Half length, seated, turned r., the face in 
three-quarters, eyes looking full ; wearing a broad-brimmed hat. 

Black, red and white chalks, on stone gray paper; roy., 10 x 7§ in. 
For J. R. Smith's biography, see in this Catalogue under his Dame. 
Purchased March, 1868. 

2. Horses resting. The corner of a field with a clump of trees in the hedge L, 

and a tbatched barn beyond ; under the tree is a horse browsing and another 
lying down beside him. Signed and dated G. Morland 1792. 
Pencil ; roy., 18§ X 14f in. 

3. Head of a Greyhound. 

Pencil ; roy., 7£ X 10 in. 

4. Study of a Greyhound lying down. 

Pencil ; roy., 7 x 9f in. • 

Nos. 2-4 were bequeathed by Richard Payne Knight, Esq., 1821. 

5. Study of a Setter. A dog coming round a thicket and setting. 

Pencil ; roy., 9§ x 11| in. 

Presented by J. Deffett Francis, Esq., October, 1866. 

6. The Mill Stream. Two fishermen on the banks of a stream, just below a mill 
that btauds r. on the further side, with a tree of spreading branches 1. 

Black chalk sketch; roy., 12| x 16g in. 
Purchased December, 1885. 



112 



Drawings of the British School. 



7. Sportsman and Dogs. View looking over a low hedge, with trees 1., to a field 

bordered by woods ; at. a gap in tbe hedge a man holding the horse of a sports- 
man who is hurrjing offr. after his two dogs, gun in hand. Signed and dated 
G. Morland, 1792. 
Pen and sepia, with sepia wash ; imp., 13| x 18| in. 

8. Leaving the Stable. Interior of a stable; a man leading a harnessed cart- 

horse to the door 1., followed by a dog. Signed and dated G. Morland 1792. 

Pencil and black chalk and stump, with touches of red chalk ; imp., 
14 X 18 in. 

9. Shepherd's Boys. Two boys, one sitting, the other standing r., under a bank 

with a clump of trees upon it ; at the seated boy's knee is his dog ; his hat, 
staff, and an empty jug lie by him in the foreground; and at the 1. are 
two sheep. Inscribed on the margin Shepherd's boys and signed and dated 
G. Morland 1792. 
Black chalk, red chalk and pencil ; imp., 18J X 15 in. 

10. The Countryman's Prayer. A countryman kneeling beside his cart, which 
has stuck fast in a rut at the r. ; he looks up 1. with clasped hands ; his dog 
waits 1. ; beyond, a cottage among the distant trees. Signed and dated on the 
sacks in the cart G. Morland 1792. 

Black chalk and pencil, with red chalk on the carter's face and hands ; imp., 
14| X 19$ in. 

11. The Quarrvman's Cart. A road coming up steeply from the 1. into the 

foreground with a thatched cottage r. and a rough hillside beyond; a man 
bringing his cart laden with slate to tbe top of the hill, pulling and shouting at 
the two straining horses. Signed and dated G. Morland 1792. 
Pencil and black chalk ; imp., 17| x 13| in. 

12. The Footbridge. An old man carrying a bundle slung on a stick, with a young 
girl and a dog, crossing a footbridge from 1. to r. over a sballow stream, which 
flows into the r. foreground ; beyond, a cottage among trees. Signed and dated 
G. Morland 1791. 

Black chalk ; imp., 15& X 18£ in. 

13. On the Koad. Two men in a cart, followed by a dog, moving away down a road 
past a cottage which stands r. ; at the 1. a clump of trees and some felled 
branches. Signed and dated G. Morland 1791. 

Black chalk ; imp., 15J X 19| in. 

14. Sheet of Studies. An old man resting by a roadside; studies of sheep and of 
a horse's forelegs; a child lying on its face watching an insect in the grass ; a 
sow suckling her litter. Signed and dated G. Morland 1791. 

Black chalk, with a little red chalk ; imp., 15£ X 2C| in. 
Nos. 7-14 were bequeathed by B. Payne Knight, Esq., 1824. 



MORTIMER, John Hamilton, A.R.A. (b. 1741, d. 1779). Painter; 
born at Eastbourne ; pupil of T. Hudson ; worked in London and 
Aylesbury ; member and (1773) vice-president of the Incorporated 
Society of Artists; A.R.A. 1778; exhibited 1762-79 portraits and 
historical pictures, but is better known by his drawings and etchings, 
spirited but forced in style ; designed some illustrations to books. 

1. Portrait of the Artist. Full half-length, seated, with arms folded, turned 
to r., the face in profile looking r., wearing a tie-wig. 
Pen-and-ink ; oval ; imp., 1G X 15 in. 
Purchased July, 185!). 



John Hamilton Mortimer. 



113 



2. Soldier's Courtship. A young man in quasi-classical armour, seated 1. on the 
plinth of a building, raises a cup in one hand, while with the other he clasp3 
the waist of a girl who has brought him drink in the pitcher she carries ; at the 
r. sits an older woman with a child at her knee; and behind, near the arched 
entrance to the building, is another soldier with a flag, seated and looking 
round. 

Pen-and-ink ; roy., 14J X 16| in. 

Etched by R. Blyth, 1781. 

Bequeathed by B. Payne Knight, Esq., 1824. 

3. Illustration to a Poem. An old king in long robes, seated r., surrounded 

by his bards, clasping the arm and hand of a young warrior who points to 
a girl standing 1. among a group of soldiers ; she raises her hand and averts 
her head. 

Charcoal and black chalk ; roy., 13 x 17£ in. 

Acquired before 1837. 

4. ' Elegy.' A female figure sitting on a rock by the sea shore and lamenting 
over a body drowned in the water beneath. 

Pen-and-ink; roy., 10| x 7f in. 
Etched by the artist. 

5. A Pastoral. A shepherdess sitting on a bank with a goat at her feet, putting 
a sprig of leaves in the hair of a shepherd boy who sits piping behind her. 

Pen-and-ink and sepia wash ; roy., 10| x 7f in. 
Etched by the artist, 1778. 

6. Two on one mount, roy., viz. ; — 

(a) Killing an Enemy. A soldier with lifted sword seizing his fallen enemy 
by the hair and about to despatch him. 
Pen-and-ink ; 10 X 1\ in. 
Etched by B. Blyth, 1779. 

(6) Retiring wounded prom Battle. A wounded soldier leaning with both 
hands on a rock, on which lies his helmet ; a glimpse of the fight at the 1. 
Pen-and-ink, 10 x 7| in. 
Etched by R. Blyth, 1779. 

7. Two on one mount, roy., viz. : — 

(a) Study for a Picture. A wounded soldier supported by a comrade, 
holding in his hand and contemplating the severed head of his enemy, 
whose trunk lies at the 1. ; two other of his comrades kneeling near him 
with gestures of horror. 
Pen-and-ink and sepia wash; 6J x 11 in. 

'6) Ob. Study for the same Subject. The wounded man sits supported r. by 
a comrade wearing a turban, and stretches out his hand to the head of his 
enemy brought by a soldier from the 1. 
Pen-and-ink ; 8| X 12 J in. 

Eev. Study for the same Subject. Study of the entire composition, 
with a group round the dying soldier under a tree r. ; a man holding a 
horse 1. Below, a study for the soldier's face. 
Pen-and-ink. 

8. Ajax bestriding the dead body of Patroclus. Slight sketch of a 

warrior with shield and sword bestriding a body ; another figure with a spear 
slightly indicated behind. 

Pen-and-ink; roy., 13£ X 12g in. 

9. Three on one mount ; roy., viz. : — 

(a) Two Horsemen. Two. horsemen charging with brandished spears. 
Pen-and-ink, 7f X 8f in. 

(6) Study of a Head. Head of an old priest or druid, turned 1. and looking 
down. 

Pen-and-ink ; 6£ X 5£ in. 
VOL. in. I 



114 



Drawings of the British School. 



(c) Skaters. A young man skating, another just fallen down behind him ; an 
old lady and gentleman standing 1. 
Pen-and-ink : 6J X 4£ in. 

10. Two on one mount, roy., viz. : — 

(a) Studies of Labourers. A man kneeling on one knee and using a crowbar 
as a lever ; a man swinging a long hammer ; and a small study of the latter 
figure. 

Brush-and-sepia sketches ; 9 X 13J in. 

(6) Studies of Carpenters. A man sawing a plank, and a man plying a 
hatchet. A slight study of a head 1. 
Brush-and-sepia sketches ; 9 X 13f in. 

11. Ob. Sheet op Studies. A number of figures and heads, slightly sketched, 
including two rough studies of a man with a sword threatening two others ; and 
at the 1. a woman with arms outstretched. Dated June 26, 1771. 

Brush and Indian ink ; roy., 5£ X 12§ in. 

Bev. Study for a Picture. Lear lamenting over Cordelia (?). Dated June 
27, 1771 (with slight pencil studies of figures, dated June 12, 1771). 
Pen-and-ink. 

12. Sheet of Studies. A soldier with a water-bottle ; a head of Silenus ; a woman's 
head, draped ; an old man's head, scowling ; a Eomau in a toga ; and a man 
holding a book. 

Ked chalk ; roy., 12 x 9| in. 

Nos. 4-12 were presented by John Henderson, Esq., April, 1861. 

13. Soldiers Besting. Two soldiers and a woman resting on a bank, their eyes 
looking r. 

Black chalk ; roy., 10J X 7 \ in. 

14. Two on one mount, roy., viz. : — 

(a) Head of a Man in a Turban. In profile, looking 1. 

Pen-and-ink, circle ; 4| in. diam. 

(b) A Soldier. Whole length, back view. 

Pen-and-ink ; 7 X 6 in. 

15. Two on one mount ; roy., viz. : — 

(a) Travellers. A man leading a horse on which are his wife and child ; with 
a small sketch of the same subject. 
Pen-and-ink sketch ; 3f x 4g in. 

(6) Grotesque Subject. A drunken faun lying on his back and crushing a 
Medusa-like form under his arm. 
Pen-and-ink sketch ; 7£ X 8 in. 
Nos. 12-14 were presented by John Henderson, Esq., January, 1863. 

16. Soldiers Examining a Tomb. Two soldiers, the nearer one wearing a turban 
and leaning on a battle-axe, the other leaning on a spear, looking at a Greek 
inscription on a tomb at the 1. : two other soldiers going off r. 

Pen-and-ink and water-colour tiut ; roy., 7 X 5 J in. 
Purchased May, 1865. 

17. Four on one mount, roy., viz. : — 

(a) Illustration to Spenser's 'Faery Queene,' Book hi., Canto vii. 7. 
Florimell entering the hut of the witch, who crouches on the floor 1. beside 
a cauldron. In a circle with framing border, and tablet below inscribed, 
The damsel there arriving enter 'd in \ Where sitting on the floor the hag she 
/ou[n]d. 

Indian ink : 4| X 2£ in. 

Engraved by C Griguion, 1778, for Bell's 'Poets,' as frontispiece to 
Spenser, Vol. Ill, 



'John Hamilton Mortimer. 



115 



(b) Illustration to the 'Faery Queene,' Book hi., Canto x. 50. Malbecco 

finding Hellenore sleeping with a satyr. In a circle with border, and 
tablet below inscribed She was astonished with exceeding dreed | And would 
have walc'd the Satyr by her side. 

Indian ink : 4J X 2\ in. 

Engraved by C. Grignion, 1778, for Bell's ' Poets ' as frontispiece to 
Spenser, Vol. IV. 

(c) Illustration to the ' Faery Queene,' Book i., Canto hi. 6. Una found 

by the lion, which licks her feet. In a circle with border, and tablet below 
inscribed forget his furious force | Instead thereof he hiss'd her weary feet. 

Indian ink ; 4J X 1\ in. 

Engraved by Sharp, 1778, for Bell's ' Poets,' as frontispiece to Spenser, 
Vol. I. 
(<7) Illustration to the ' Faery Queene,' Book i., Canto ix. 36. Despair 
in his cave, with the dead man lying before him. In a circle with border, 
and tablet below inscribed And him beside there lay upon the grass \ A 
dreary corse whose life away did pass. 

Indian ink over an outline etching of the design ; 4 J X 1\ in. 

Engraved by Sharp, 1778, for Bell's ' Poets,' as frontispiece to Spenser, 

Vol. ir. 

Purchased November, 1866. 

18. Three on one mount, roy., viz. : — 

(a) The Comic Muse. Crowned with ivy, she stands with a pen in her hand 
holding an open book which rests upon an altar r. ; sitting beside her, 1., is 
a child holding an old man's mask before his face and with a tambourine 
between his knees. 

Indian ink ; 4 J X 2g in. 
(6) Comedy. A female figure holding a mask in one hand and a flute in the 
other and looking down on a satyr seated r. at her feet with reeds in his 
hands ; at the 1. a boy drumming and piping. 
Indian-ink wash and pen ; 4f x 3 in. 

(c) Tragedy. A female figure standing by a monument with a dagger in a 
girdle and a cup in her hand, listening to the cry of a fury who appears 
with fire and sword from the clouds above ; at the 1. a river and ruins. 

Indian-ink wash and pen ; 4J X 2| in. 

Two designs by Mortimer, called ' Tragedy and Comedy,' were etched 
and published 17*78 ; these differ from the designs above described. 

Bequeathed by Felix Slade, Esq., August, 1868. 

19. Sheet op Studies. Studies of figures, heads, and legs, including a group of 
two girls talking, a girl walking with a flower in her hand and another girl 
about to seize her shoulders from behind, a group of two women and a 
man, etc. 

Pen-and-ink ; roy., 7f X 12 \ in. 

Presented by J. Deffett Francis, Esq., January, 1885. 

20. Nebuchadnezzar recovering his Reason. The king, his naked body covered 
thick with hair, and with his nails like claws, rising from his knees in a rocky 
place, and turning his head upward to the sunlight 1. An illustration to 
Daniel iv. 34. 

Pen-and-ink; imp., 16 x 14J in. 
Etched in reverse by B. Blyth, 1781. 

21. Soldier's Death. A dying soldier lying in bed in an alcove, supported by the 
arm of a woman, who offers him a bowl of broth ; at the r. a group of three 
soldiers and a man entering with a portfolio and writing materials. 

Pen-and-ink ; imp., 14J x 16f in. 
Etched in reverse by R. Blyth, 1781. 

22. Soldier's Funeral. Two soldiers letting down the shrouded body of their 
comrade into a grave, above which stands a bearded and turbaned chief, 
pronouncing an eulogy, and pointing to a trophy 1. ; behind him are two soldiers, 
one turned away, and by the grave r. sits a woman weeping. 

Pen-and-ink ; imp., \\\ x 16§ in. 
Etched in reverse by R. Blyth, 1781. 



I 2 



116 



Drawings of the British School. 



23. Soldier's Family. A soldier seated with his wife at a stone table in the open 
air under a cliff-side ; a child brings him broth in a bowl from the r., his steps 
supported by another woman ; a second soldier sits opposite, and a third stands 
behind ; at the r. a glimpse of landscape. 

Pen-and-ink; imp., 14 x 16 J in. 
Etched in reverse by R. Blyth, 1781. 

24. Banditti going Out. Three bandits going out armed towards the r., where 
comrades are preceding them to the open country below ; at the 1. another is 
fastening his sandals. 

Pen-and-ink ; imp., 14 x 16 in. 

Etched in reverse by R. Blyth, 1780 ; drawn 1775. 

25. Banditti Returning. A bandit bringing back a captive girl, who hangs her 
head and weeps, to the fastness; two others 1. expostulate with her; a third 
lays down a chest and other booty ; others come up from the country r. 

Pen-and-ink; imp., 13g x 16£in. 

Etched in reverse by R. Blyth, 1780 ; drawn 1775. 

26. Rustick Dancers. Two girls and a young man dancing together to the piping 
of a man who sits 1. in front of a cottage, at the door of which stand an old 
man and woman looking on. 

Pen-and-ink ; imp., 14J X 16J in. 

Etched in reverse by R. Blyth, 1780 ; drawn 1774. 

27. The Head of Crassus brought to the King op Parthia. A banquet in a 
hall with great pillars; Orodes, king of Parthia, seated on a couch 1., joyfully 
takes the head of Crassus from two messengers ; his son, Pacorus, behind him, 
looks at the head in astonishment ; at the opposite table, r., the Armenian king, 
Artavasdes, rises and bends forward eagerly; other guests are seated at the 
tables, and servants bring dishes of meat and wine. 

Pen-and-ink ; atl„ 18£ x 2.t£ in. 

Nos. 20-27 were bequeathed by R. Payne Knight, Esq., 1824. 

28. Study for a Picture. A youth and girl bringing bread and wine to a poor 
woman and her child, who lie on the ground 1. 

Pen-and-ink sketch ; 12f x 9 in. 

Inserted in the interleaved copy of Edwards' ' Anecdotes of Painters,' Vol. I., 
No. 198. 

Presented by J. H. Anderdon, Esq., November, 1867. 

29. Album containing Studies and Sketches. 

(1) A Boat in a Stormy Sea. 

Pen-and-ink. 

Etched by R. Blyth, and published 1805. 

(2) Martyrdom of St. Erasmus. 

Pen-and-ink and Indian-ink wash. 

(3) Banditti loading a Horse with Spoil. 

Pen-and-ink. 

Etched in reverse by R. Blyth, 1783. 

(4) Three Banditti and a Girl with a Basket of Flowers. 

Pen-and-ink. 

(5) Banditti on the look-out. One of them pointing out a distant object 
to his comrades. 

Pen-and-ink. 

(6) Group of Banditti with a Dog, the leader leaning on a mace. 

Pen-and-ink. 

(7) Group of Three Figures ; a girl, a man in a felt hat, and an old man in 
a fur cap. 

Pen-and-ink. 

(8) An Orator or Philosopher, with his pupils round him. 

Pen-and-ink and Indian -ink wash. 



John Hamilton Mortimer. 



117 



(9) A Man Fighting with a Half-human Sea-monsteb. 
Pen-and-ink. 

(10) David Talking with Bathsheba (?), a figure of Death standing at his 
shoulder. 

Pen-and-ink. 

(11) 'Successful Monsteb' ; a sea-monster embraced by a nymph, to the rage 
of his rival. 

Pen-and-ink. 

Etched by the artist, 1778. 

(12) Two Heads ; one with a hat, and a patch over one eye, the other with a 
laurelled helmet. 

Pen-and-ink. 

(13) A Dwaef Grinding Colours. 

Pen-and-ink. 

(14) A Soldier, Women and Beggar at a Fountain. 

Pen-and-ink. 

(15) Studies of Boats, with Sailobs, Soldiees, etc. 

Pen-and-ink, with Indian-ink wash. 

(16) A Battle ; two Men on Horseback, the best on foot. 

Pen-and-ink and Indian-ink wash. 

(17) Monsteous Heads, etc. 

Pen-and-ink. 

(18) Concert of Gbotesque Demons. 

Pen-and-ink. 

(19) A Dragon stooping oveb the Bones of an Animal. 

Pen-and-ink. 

(20) A seated Giel Meditating. 

Pen-and-ink. 

(21) Theee Heads : a girl, an old man, and a man with a spear. In a circle. 

Pen-and-ink. 

(22) Thbee Heads : a man in a turban, a man in a helmet, and a girl. In 
a circle. 

Pen-and-ink. 

(23) Maeine Monstee eeclining. 

Pen-and-ink. 

(24) 'Revengeful Monstees.' 

Pen-and-ink. 

Etched by the artist, 1780. 

(25) Landscape with Boats on a Riveb. 

Pen-and-ink. 

(26) Studies of Heads and Figubes. 

Pen-and-ink. 

(27) A Paib of Monstees Asleep Togethee. 

Pen-and-ink. 

(28) A Teiton steangling a Sea Seepent, with studies of heads. 

Pen-and-ink. 

(29) Death as an aemed Wabeiob, holding a Skull in his Hand. 

Pen-and-ink. 

(30) Sheet of Studies : archers, soldiers, women, etc. 

Pen-and-ink. 

(31) Sheet of Studies : a man and two women going to market, etc. 

Pen-and-ink. 

(32) Studies of Heads of Soldiees, etc. 

Pen-and-ink ; red chalk. 

(33) Heads of Two Peiests. In an oval. 

Pen-and-ink. 



118 



Drawings of the British School. 



(34) Two Heads : a man with a turban, and a girl. 

Pen-and-ink. 

(35) Studies of Heads, Figures, etc. 

Bed chalk ; pen-and-ink. 

(36) Death riding over Men and "Women. 

Pencil. 

(37) Landscape with Crows near a Dead Body on a Seashore. 

Water colours and Indian ink. 

Bequeathed by Bichard Payne Knight, Esq., 1824. 

MOSER, George Michael, R.A. (b. 1704, d. 1783). Enameller and 
medallist ; born at Schaffhausen ; studied ab Geneva ; came young to 
England and became well known as a gold chaser, medallist and 
enameller, especially for his watch cases ; manager of the St. 
Martin's Lane Academy, and foundation member and first Keeper of 
the Royal Academy. 

1. Ob. Design for a Medal. Allegorical female figure, enthroned and holding 
a sceptre in one hand, and a hoop, formed of a serpent with its tail in its mouth, 
in the other ; at her feet a palette, square, and mallet. Inscribed Mozer. 
Pen-and-ink; 7 X 5g in. 

Rev. Nude Study. Nude study for the figure in the drawing just described. 
Inscribed Mozer. 

Black chalk. 

Placed with unmounted drawings. Date of acquisition unknown. 



MOSER, Mary, R.A. (d. 1819). Flower painter; only child of 
George Michael Moser ; well known for her pictures of flowers, but 
painted occasional figure subjects ; decorated a room at Frogmore for 
Queen Charlotte ; foundation member of the Royal Academy ; worked 
little after her marriage, 1793, to Captain Lloyd. 

1. Study of Flowers. Boses, marigolds and stocks. 
Signed Mary Moser, R.A. 
Water colours; roy., 11 § x 9g in. 
Purchased July, 1878. 

MULLER, William James (b. 1812, d. 1845). Landscape painter; 
born at Bristol ; son of a German naturalist, settled in England ; 
pupil of J. B. Pyne ; exhibited at the Royal Academy 1833-1845 ; 
worked in and around Bristol, in Norfolk, and in Wales ; sketched 
in Germany, Switzerland and Italy 1834, in Greece and Egypt 
1838-39 ; removed from Bristol to London 1839 ; worked in France, 
1840, for his 'Age of Francis I.,' published 1841; joined the 
Government expedition to Lycia, 1843, where his finest drawings 
were made ; noted for his extreme rapidity and power as a sketcher, 
and for the brilliant colour of his Eastern subjects, interiors with 
figures, as well as landscapes, both in oils and water colours. 

[1-21] Drawings made in England and Wales. 

1. "Westminster from the Biver. View on a hazy morning from the river below 
Westminster, looking towards the Abbey, Hall and bridge, with trees on the 
bank r. and a boat in the 1. foreground. 

Water-colour sketch ; roy., 5| x 15J in. 

Purchased July, 1850. 



William James Mtiller. 



119 



2. Eoe, near Conway. A hillside in autumn with a rock and clump of trees 1. ; 

at the r. a view over the valley of the Conway and distant hills under a cloudy 
sky. 

Water colours ; roy., 8| x 14 in. 

3. Eoe, neak Conway. A pathway over a heath leading up to two low cottages r. 
backed by dark woods ; at the 1. a view over a wooded valley to distant hills ; in 
the foreground a footbridge over a brook. 

Water colours; roy., 8£ X 15£ in. 

Nos. 2 and 3 were bequeathed by John Henderson, Esq., December, 1878. 

4. Dooeway of a Shed. A doorway into a thatched shed. 

Monochrome sketch ; roy., 7|x6 in. 

Presented by J. Deffett Francis, Esq., December, 1874. 

5. Apothecaries' Garden and Lecture Hall, Chelsea. View in the botanic 

garden below the terrace, behind which stands a pair of great cedars ; on the 
steps in the middle of the terrace sits a woman with a man in Oriental dress 
beside her ; at the end of the garden 1., beyoud a tall yew hedge, appears the 
front of the lecture hall. Signed and dated W. Miiller, 1840. 

Water colours ; imp., 12| x 19J in. 

The larger of the two cedars shown in this drawing was blown down in 1853. 
They were planted in 1683. 

6. Porpleet. A sandy hollow with a clump of trees and a hedge on the high 
bank r. ; at a little distance is a fence across the hollow, and a glimpse of blue 
distance beyond. Inscribed Purfleet. Signed and dated W. M., 1841. 

Water colours ; imp. ; 13 J x 18 in. 

7. Near Maidstone. A common with pond in the foreground ; beyond, r., a 

church-tower and clustered cottages among elms and poplars ; further off, 1., a 
group of houses. 

Water colours ; imp., 11§ X 17| in. 

8. Near Stapleton, Bristol. A rocky bank r. with trees growing on the steep 

slope. Signed and dated Stapleton 1840. W. M. 

Water colours on buff tinted paper ; imp., 10J X 15J in. 

9. Trees near Bristol; Summer. A glade in a wood, with a group of tall 
beeches on a slope rising 1. 

Water colours; arched at the top ; imp., 12 X 19f in. 

10. Trees near Bristol ; Winter. Trees on a misty blue hillside ; a fallen birch 

in the foreground. 
Water colours; arched at the top ; imp., 20J X 14| in. 

11. Ash Trees and Elms. A corner of a field with a path and stile 1., beyond 
which is a group of ash trees, their branches growing bare, backed by a wood of 
elms. 

Water colours ; imp., 20| X 14£ in. 

12. Study of a Bed Fir. The top of a red fir tree against a brilliant blue and 
white sky. Inscribed Br entree Bristol, signed and dated W. M. 1842. 

Water colours ; imp., 20g x 14£ in. 

13. Mill at Conham. A water-mill, backed by a wood at a little distance ; in the 

foreground, part of a field with a fallen tree r. and a broken hurdle lying 
against it ; at the 1., beyond a little hollow, a clump of trees. Inscribed 
Conham, Nov r . 4'A, '41. 
Water colours (with some body colours) ; imp., 18| x 14 in. 

14. Mountain and Lake; Eoe, North Wales. The shores of a small lake, 

reflecting groups of dark trees on the further side of it ; beyond, a valley lead- 
ing up to a snow- whitened mountain with a lower hill r,, darkened by a falling 
shower. Inscribed Ro. N. W. M. 42. 
Water colours on toned paper, heightened with white ; imp., 12f X 19J in. 



120 



Drawings of the British School. 



15. Water-mill, Eoe, North Wales. A mill standing among trees towards the 1. 
on a stream which pours through the sluice and flows out into the foreground ; 
at the r. a roofless shed, and a cow standing in a field, bordered by woods. 

Water colours ; imp., 14J x 21£ in. 

16. Cottage near Eoe. A stream flowing, broken into foam, along the foreground 
from 1. to r. ; on the further bank a thatched cottage, backed by trees which 
bend to the wind ; at the 1. a footbridge leading to the cottage ; and beyond 
that a house gable behind a hedge ; a stormy sky. 

Water colour on toned paper, heightentd with white ; imp., 12£ x 19£ in. 

17. The Vale op Conway. A heathy hill side, with a boulder 1., shelving away 
into broad fields, through which the distant river comes between ranges of hills 
1. and r. Inscribed Vale of Conway, N. W. M. Oct. 18. 

Water colours ; imp., 12| x 21 J in. 

18. Interior of a House, Conway. A large old panelled room with the light 
comiug from a window high in the wall r. and slanting across a carved chimney- 
piece by which a woman sits with a child upon her knee ; at the r. a bed with 
red hangings, and a table under the window ; at the 1. a door half open ; a 
kettle on the fire, and a cauldron and ladle on a rug near it. Signed and dated 
W. Muller. Conway 1839. 

Water colours and body colours on toned paper ; imp., 12 x 19J in. 

19. On the Koad to Aber, North Wales. A road and wall running obliquely 
from the 1. to the r. foreground ; a pile of boulders against the wall and a stile 
leading over it, and behind it r. trees and bushes bending in the wind. 
Inscribed N.W. Road to Aber. Dated and signed Oct. 16. W. M. 

Water colours and body colours on toned paper; imp., 18J X 18J in. 

20. Lynmouth. Wooded sunlit din's, at the foot of which r. the brown water of the 

Ljn flows into the 1. foreground, round a rocky bank covered with tall trees 
and projecting from the 1. ; in the r. foreground a sandy shore. Signed and 
dated Lynmouth, 44. W. M. 

Water colours (with some body colours) ; imp., 13| x 21£ in. 

21. Lynton. View from the cliff side, of the village clustered on the edge of the 
valley, which winds among the hills from the r. to the sea; beyond, the hills 
run out in a headland, enclosing a bay. Unfinished. Signed and dated 
Linton. W. M. 1844. 

Water colours ; imp., 13£ x 20f in. 

Nos. 5-21 were bequeathed by John Henderson, Esq., December, 1878. 

[22-38.] Sketches in Italy and Egypt, 1839. 

22. Civita Vecchia. View from the quay, looking to the sea, over which the sun 
sets between the towers of the two moles forming the basin ; at the 1. the gate- 
way, wall, and towers of the fort, and outside it a statue on a high pedestal ; 
feluccas and small boats moored in the harbour and a group of figures near them 
on the quay. 

Water colours over pencil ; roy., 6 X 6J in. 
Purchased July, 1850. 

23. Moonrise on the Nile. A boat sailing down the Nile, with figures grouped 
round a fire on the deck ; on the horizon 1. the rising moon. 

Body colours : roy., 8£ X 12J in. 

24. A Street Scene, Egypt. A street, shaded by awnings, leading to an arch, 
behind which white buildings rise in sunshine, with a palm tree 1. ; in the 
middle foreground a Nubian in a striped burnous advances, at the 1. stands a 
man with a gun, at the r. a merchant is seated on a divan ; behind these are 
other figures, one a woman with a child on her shoulder. 

Water colours ; roy., 14 x 10| in. 

25. An Opium Seller. Interior of a bazaar, with divan r. on which the opium 

seller sits ; a man in a red turban and a Nubian stand before him, and a beggar 
squats in the foreground ; other figures roughly sketched at the 1. 
W T ater colours ; roy., 13| x 10 in. 



William James Miiller. 



121 



26. Evening on the Nile. Sunset over a reach of the river, bordered r. and 1. by 

palm groves ; at the 1. a group of water birds on a sandy spit. 
Water colours ; roy., 4J x9 in. 

27. Bazaar, Assiout. A bazaar with arches opening 1. upon the street, crowded 
with figures, among whom the most prominent is a man in a large green turban ; 
at the r. is a merchant seated on a divan ; at the 1. is a group of three men, one 
•with water jug beside him, another with a pipe. Inscribed Stout, Egypt. 

Water colours ; roy., 10 X 7£ in. 

28. Opium Seller, Assiout. A dim bazaar, lighted by a window above arches r. ; 
a ray slants down on the opium seller sitting on his divan at the h, a turbaned 
figure stands before him, others are standing beyond with their backs turned, 
and a man in a striped burnous squats on the floor at the r. Signed W. M. 
Egypt. 

Water colours ; roy., 10 X 1\ in. 

29. Entrance to Manfalout. The bank of the Nile, which is partly seen at the r. 
with a white sail on it and rosy cliffs beyond ; on the edge of the water are two 
palm trees, and near them 1. the entrance to the crocodile pits, with a Bedouin 
and his camel resting in front of them ; in the foreground an old man driving a 
few sheep. Inscribed Entrance to Montfalloot. Dec. 20. Nile 183[8]. 

Water colours ; roy., 8$ X 8| in. 

30. Luxor. A colonnade of lotus pillars seen in perspective, the lower part inter- 
cepted by the low wall of a Coptic dwelling, before the door of which are two 
men seated by a fire, while a third stands beside their two camels, one of which is 
lying down ; at the 1., part of an ancient building painted with hieroglyphics ; 
at the r. part of a modern Coptic dwelling, with birds on the roof. Signed and 
dated Luxor. W. Miiller, 1839, Egypt. 

Water colours and body colours ; roy., 10$ X 15| in. 

31. Valley of the Tombs of the Kings, Thebes. A broken ridge, with two 

palms on its crest, r., and a vulture near them ; beyond, a deep hollow, from 
which a range of bare cliffs rises from shadow into sunlight. 
Water colours ; roy., 5£ x 11 £ in. 

32. Pass leading to the Tombs of the Kings. Two men, one seated, one 

standing, in the 1. foreground, near the entrance to the pass, enclosed r. by 
abrupt cliffs, one of which is pierced at the foot with a square opening. 
Inscribed Pass leading to the Tombs of Kings, Egypt. 
Water colours ; roy., 8f X 12$ in. 

33. Near the Tombs of the Kings. The hollow of a valley, with palms 1. and 

rocks and bushes r., all obscured in the evening shadow, out of which, in the 
r. background, yellow cliffs rise into the light. 

Water colours ; imp., 11| X 17f in. 

This sketch was afterwards used by Miiller for his picture of ' The Good 
Samaritan.' 

34. Valley of the Tombs of the Queens. A sharp ridge of rocks looking across 

a deep hollow, filled with darkness, to the opposite crags, the summits of which 
are flushed with the afterglow of sunset : above them rises the full moon. 
Inscribed Egypt, W. M., 1839. Valley of the Tombs of the Queens. 
Water colours; imp., 10J x 16| in. 

35. Entrance to the First Temple of Karnak. A square court surrounded by 

double columns of the closed lotus form, covered with paintings and hiero- 
glyphics ; near the foreground r. an Arab seated on the sand heaped up round 
the bases of the pillars, one of which has half fallen ; in the centre, through a 
doorway, appears another court beyond. Inscribed Entrance to the First Temple 
of Carnac, Egypt. 

Water colours and body colours on buff paper ; imp., lOf X 15| in. 

36. The Nile at Assiout. The line of yellow limestone cliffs opposite Assiout, 
broken by two gaps, with the Nile in the foreground and a boat towards the r. 

Water colours ; imp., 5| x 16§ in. 



122 



Drawings of the British School. 



37. Cliffs on the Nile. A massive rounded hill on the further shore of the Nile, 
which fills the foreground, with scarped cliffs descending to the water. 

Water colours ; imp., 8J X 15£ in. 

38. The Nile near Assiout. A boat witli two triangular sails at the 1. moving 
down the river, which flows away into the 1. distance ; at the r. a range of cliffs 
rising from the water. 

Water colours ; imp., 7J X 16J in. 

[39-75] Sketches made in Smyrna, Lycia, and Khodes, 1843-44. In the autumn 
of 1843 Mtiller joined the second Government expedition to Lycia, on the 
suggestion of Mr. (afterwards Sir Charles) Fellows, who commanded it. He 
was, however, not officially connected with the expeditionary force. He was 
accompanied by his pupil, Harry Johnson. The set of drawings may be 
compared with the set made in Lycia on the first Government expedition, 1842, 
by E. T. Daniell, and now in the Museum, described in Vol. II., pp. 9-16. 

39. Double Eoman Aqueduct at Smyrna. View on a hillside looking down the 
valley of the river Meles or Hermes, crossed near the foreground by two Eoman 
aqueducts each of two tiers of arches ; a few modern buildings on the r. slope, 
between the aqueducts ; in the distance, where the river winds out of sight, a 
flat-topped hill crowned with the old walls of Smyrna Castle. Inscribed River 
Hermes, Smyrna, 1843. 

Water colours, touched in places with white ; x imp., 14 X 21 in. 
The first sketch made by Muller in Asia Minor. 

40. Smyrna from the Jew's Burial Ground. View looking over the roofs of 
Smyrna to the bay and hills beyond, with the castle walls crowning a nearer 
hill at the r. ; in the foreground, the flat tombs of the Jewish cemetery on a 
slope rising r. towards a walk of cypresses beyond. Inscribed Smyrna from 
y e Jewish burial ground. 

Water colours ; imp., 14 x 21 J in. 

41. Travellers' Khan, Smyrna. A large inn-yard, with a high arch at the back 
leading into a dark street ; in the foreground r. a Turk standing by his mule, 
and a pile of striped sacks lying against the wall beneath a projecting pent- 
house; at the back of the yard 1. are other mules and horses and baggage : 
natives are seated on the ground near the archway, and others moving in the 
street beyond. Inscribed Smyrna-Elian, W. M. 43. 

Water colours and body colours ; imp., 14 x 20£ in. 
[Reproduced in Solly's ' Life,' p. 156. 

42. Jews' Quarter, Smyrna. The courtyard of a ruined building, in which at the 
r. a group of Jews are seated or standing round a fire, under the shadow of a 
broken wall, with a camel lying down near them 1. ; one of them, nearest the r., 
wearing a pale green pelisse, stands out prominent in the moonlight, which 
shines through the windows of the ruin on white buildings and cypresses 
beyond. 

Water colours ; roy., 10 x 14§ in. 

43. Camels, Smyrna. Two camels with their trappings, one lying down, the other 
standing a little distance away at the r. Dated a Smyrna, 1843. 

Water colours ; imp., 9£ X 18£ in. 

44. On the Koad to Bouja. A rough road curving into the foreground along a 
bare hillside sloping r. to a hollow in which are trees; in the distance Smyrna 
Bay and the range of hills beyond, dark under threatening rain- clouds. 
Inscribed On the road to Bouja, 1 843, W. M. 

Water colours ; imp., 13£ x 21£ in. 



1 ' Muller had taken some bottles or tubes of white with him, but on using some he 
found that it invariably turned brown or black, and he immediately abandoned its use.' 
Solly's ' Life of Muller,' p. 188. The white had blackened, but has beou now restored. 



William James Muller. 



123 



45. The Kivek Xanthus. View from the rocky hill overhanging the Xanthus, 
which flows into the 1. foreground, winding down the valley from the snowy 
Taurus range on the horizon ; on the cliff r. stands at a little distance the 
' Harpy ' Tomb, and a crested tomb beside it ; beyond these rises a stony crag, 
its lower slopes clothed in autumn-coloured woods down to the water side. 
Inscribed River Xanthus and Mount Taurus, Lycia. 

Water colours ; imp., 14J x 21£ in. 

46. ' Lion ' Tomb, Acropolis, Xanthus. The remains of the tomb, with sculptured 
lion, stands at the r. in the foreground, which is strewn with marble fragments ; 
at the 1. are two goats in the shadow of a dark tree ; beyond, scattered ruins 
appearing among bushes, and at some distance the tall ' Harpy ' tomb. 

Water colours ; imp., 13 J X 21 £ in. 
Keproduced in Solly's ' Life,' p. 216. 

47. The Theatre, Xanthus, and ' Box ' Tomb. Part of the broken tiers of the 
theatre built on the slope slanting down to the 1., with weeds and shrubs grow- 
ing among the slabs of stone ; a little beyond, the so-called ' Box ' Tomb, 
standing among the brushwood of the hillside, which rises into a crag at the 1. ; 
in the r. distance a mountain. Dated and signed Xanthus, 1843, W. M. 

Water colours ; imp., 18f x 13£ in. 

48. Zingari's Tent. A low tent pitched in a sandy hollow with heathy slopes 
behind ; a woman is seated inside the tent with cooking utensils besido her, 
and a child just outside it with some red fruit in its lap ; at the r. in the fore- 
ground a girl with a pail on her arm. Inscribed Cingari's Hut, 1843, W. M. 

Water colours; imp., 13g x 21 J in. 

49. Kock Tomb at Pinara. The side of a cliff 1. with a tomb cut in the rock at 
its base ; at the r. a view over the Xanthus Valley to the Massicytus mountains, 
with rocks and bushes in the foreground ; two Turks 1. looking up at the tomb. 
Inscribed Pinara looking to Closs [Tlos] Lycia, 1843, Nov. 13. 

Water colours; imp., 14J x 21 J iu. 

50. Rock Tombs at Pinara. A tomb with a crest of bull's horns cut in the face of 
the rock at the r., with a square tomb on either side ; fragments of hewn stones 
scattered about the foreground ; above the tombs, the wild and wooded side of 
Mount Cragus rising dark under a btorniy sky. Inscribed Pinara, Lycia, Nov. 
18, 1843, W.M. 

Water colours ; imp., 14 X 21 in. 
Reproduced in Solly's • Life,' p. 232. 

51. Platform op the Acropolis, Pinara ; Sunset. A plateau of rough ground 
all in shadow ; in the centre a tomb with arched top ; beyond a dark valley out 
of which rises a range of hills, their summits flushed in the last light of sunset. 
Inscribed Tomb, Pinara, Lycia. 

Water colours ; imp., 9 x 20f in. 

' This was made in about twenty minutes, whilst waiting for dinner, just 
outside the tent at Pinara ' (Solly's ' Life,' p. 262). 

52. Taurus Range, Xanthus. A distant range of mountains, bathed in warm 
evening light. 

Water colours ; roy., 5 X 14| in. 

53. Son of a Brigand Chief. A boy in Turkish dress, with bare legs and feet, 

carrying an iron pot. Inscribed Son of y e Brigaiid Chief, Dec. 12, 1844, 
W. M. Xanthus. 
Water colours ; roy., 13| X 9§ in. 

54. A Lycian Boy. A boy with a bow and blunt-headed arrow in his hand 
standing in a landscape ; a dead bird hangs from the tip of the bow. Inscribed 
Lycian boy toith bow and arrow, Xanthus, Dec. 12, 1843. 

Water colours ; roy., 13f x 9| in. 

55. Water Carrier, Xanthus. A youth in Turkish dress, with a gourd slung 

over his shoulder, standing in a landscape. 
Water colours; roy., 12f x 8 J in. 



124 



Drawings of the British School. 



56. Yttrook Plating a Pipe. A man with a large turban and long striped dress 
sitting on the ground and playing a pipe. 
Water colours ; roy., 9f x 8£ in. 



57. 



White Crane Shot at Xanthus. A crane lying on a bank. 
Water colours ; imp., 12£ X 19J in. 



58. Baggage Camels, Xanthus. Two camels with trappings for carrying baggage, 
one of them seen from behind ; in the distance snow-capped mountains. Sketched 
from the door of Muller's tent. Inscribed Xanthus, 1843, Dec. 14, W. M. 

Water colours; imp., 19 x 13 J in. 
Eeproduced in Solly's ' Life,' p. 184. 

59. Tent of Wandering Ycrooks. A tent pitched against a bank r. with a sandy 
slope in front, and purple hills in the 1. distance beyond a wide valley ; in the 
door of the tent an old man and a little girl seated with a dog beside them, 
another girl standing r. ; in front of them a woman crouching aud holding 
the forefeet of a goat. Inscribed Xmas Day, Xanthus. 

Water colours ; imp., 13| x 20£ in. 
Reproduced in Solly's ' Life,' p. 202. 

60. Bock Tombs, Tlos, Lycia. Part of the Acropolis of Tlos, a rocky mass rising 1. 
with tombs cut in the face of it and a mediaeval castle on the top ; on the 
sloping ridge r. some modern dwellings, and the snowy tops of distant mountains 
beyond ; in the 1. foreground some tombs and shrubs and a stone inscribed Tloss, 
Dec. 31, 1843. W. M. Lycia. 

Water colours ; imp., 13 J x 21 J in. 

61. Tlos from the North-East. View from a hillside across a richly wooded 
glen, beyond which rises the massive crag of Tlos, with its fortress and rock 
tombs, sloping gently 1. and broken r. into precipices which overhang the 
Xanthus Valley; in the r. distance the snowy peaks of Anticragus tower 
beyond the rock of Pinara. Inscribed Tloss, Jan. 1, 1844. 

Water colours ; imp., 14 X 21f in. 

Compare the similar view of Tlos by E. T. Daniell, described in Vol. II., 
p. 12, No. 17. 

62. Tlos from the Vomitory of the Amphitheatre. A view from the same hill- 
side as in the last drawing, but at a point more to the east, showing less of the 
precipitous side of the Acropolis, and more of the gentle slope at the 1. ; in the 
r. foreground are remains of the masonry of the amphitheatre, and the arch of 
the vomitory, all overgrown with weeds and bushes ; the r. distance is filled 
with the snowy mass of Anticragus. Inscribed Tlos, Jan. 2, 1844, W. M. 

Water colours ; imp., 14^ X 21 J in. 
Beproduced in Solly's ' Life,' p. 239. 

63. Bock Tombs and Precipices, Tlos. A shallow brown stream at the foot of the 
dark and towering precipices honeycombed with rock tombs, which form the clitf 
face of Tlos, the mediaeval fortress appearing above against the sky; at the 1., 
trees and bushes overhang the stream and partly hide the view of the woody 
glen beyond. Inscribed Tloss, Lycia, Jan. 2, 1844, W. M. 

Water colours ; imp., 22£ x 14| in. 

64. Bock Tombs, Tlos. Part of the Acropolis of Tlos, a mass ©f rock rising I., with 
tombs cut in the face of it and a path leading up to it from the r. foreground ; 
at the r. a wide view over bare uplands, and distant peaks beyond. Inscribed 
Tloss, Jan. 3, 1844, Lycia, W. M. 

Water colours ; imp., 14| x 21f in. 

65. Bock Tombs, Tlos. The same part of the Acropolis as that just described, 
viewed from a different angle ; the rock, with its hollow tombs below and fortress 
wall above, rises r. above the path which curves up from the foreground. 
Inscribed Tlos, Jan. 6, Lycia, W. M., 1844. 

Water colours ; imp., 21^ x 14£ in. 



William James Midler. 



125 



66. Entrance to Tlos. The two sides of a broken arch standing on each side of 
a road and framing a view of a valley sloping up to a hill, beyond which rise the 
snowy peaks of Massicytus ; coming through the archway into the foreground 
is a Turkish girl holding a small child by the hand ; at the 1. is a part of a 
modern dwelling, and in the r. foreground fallen blocks of masonry, one bearing 
a Greek inscription. Inscribed Tloss, Lycia, W. M., 44. 

Water colours ; arched at the top ; imp., 21 x 14§ in. 

67. Firs on the Road to the Ford of the Mangyr Tschai, between Tlos and 
Xanthus. Two fir trees standing together ; the skirts of a wood at a little 
distance 1. Inscribed Firs on y e road to y e Mangherchi, Lycia, Janry. 1(3, 
1844. W. M. 

Water colours ; imp., 20£ X 14 in. 

'Made in an incredibly short time by Miiller on the march to Tlos' (Solly's 
* Life,' p. 259). The date, however, shows that this sketch was made on the 
return journey from Tlos to Xanthus. 

68. Pudding-stone Eock, near Xanthus. Masses of warm-coloured rock over- 

grown with tall bushes; a showery sky. Inscribed Near Xanthus. W. M. 
1844. 
Water colours ; imp., 13J x 21 J in. 

69. Kock Tombs, Makri. A bare and sandy valley leading 1. from the foreground 
to the distant waters of Makri harbour, with snow-capped ranges beyond ; at the 
r. precipitous cliffs enclose the valley, perforated with rock tombs. Inscribed 
Makri, Lycia. Feb. 3. S.—W. M. 1844. 

Water colours ; imp., 14J X 21| in. 

70. View from Makri towards the Valley of the Glaucus. View from the 

top of a ravine, overshadowed by immense crags r., looking down on the valley 
of the Glaucus below : wild olive trees in the foreground, partly intercepting the 
view, and 1. a tomb cut in the rock. Inscribed Looking towards y e Valley of y e 
Glaucus fr m Makri Feb. 4<A 1844. W. M. 
Water colours ; arched at the top ; imp., 14 X 20§ in. 

71. Ruins of Telmessus at Maeri. Shallow water at the edge of the harbour, 

with ruins of masonry and scattered blocks of stone at the r. ; a background of 
hills coming down to the harbour, with tombs here and there in the jutting 
cliffs, and snow on a distant peak 1. Inscribed Ruins at Macry. Feb. 5, 1844. 
W.M. 
Water colours ; imp., 13 X 21| in. 

72. Water Tomb, Telmessus. An arched tomb standing in the shallows of the 
harbour ; in the background a chain of hills descending towards the 1., where a 
snow-capped mountain rises beyond ; rock tombs in the cliifs and ruins on the 
shores of the bay. 

Water colours ; imp., 14| X 21 in. 

From this sketch Muller made an oil painting, 1845, reproduced in Solly's 
' Life,' p. 276. 

73. Fort at the Entrance of the Harbour of Rhodes. A sandy beach lined 

with low rocks r. ; at the 1. a little bay, beyond which the fort, witli its light- 
house, projects 1. into the sea ; a capstan on the beach in the foreground ; masses 
of white cloud moving away to the 1. Inscribed Rhodes. March 1st, 1844. 
W.M. 

Water colours; imp., 13J x 21 J in. 

Reproduced in Solly's ' Life,' p. 256. 

74. The Great Harbour, Rhodes. A narrow quay, backed by a lofty fortified 
wall, enclosing the harbour ; at the innermost point of the harbour r. is a gate- 
way in the wall, flanked by massive towers, and beyond it are shops and an 
arcade built ag.tinst the wall, with groups of figures on the quay ; behind the 
arcade is a tower ; in the harbour 1. several sailing boats. Inscribed Rhodes. 
W. M. 44. 

Water colours; imp., 14 J X 22 in. 



126 



Drawings of the British School. 



75. The Pasha's Palace, Rhodes. Part of the harbour 1., with beach in the 
foreground and the palace r. ; a group of figures under the arches of a projecting 
entrance to the palace, from which a mole juts out 1. into the water; feluccas 
are moored on either side of the mole and a small schooner anchored outside it ; 
on the shore beyond is a fort with the famous tower called the French Tower or 
the Naillac Tower, destroyed by an earthquake in 1863. 

Water colours ; imp., 13J x 21§ in. 

Nos. 5-75 were bequeathed by John Henderson, December, 1878. 



MULREADY, William, R.A. (b. 17S6, d. 1863). Painter; born at 
Ennis, co. Clare, but brought as a child to London, where he worked 
all his life ; studied at the Royal Academy ; painted landscapes and 
designed book illustrations, but from about 1809 painted chiefly 
domestic incidents, of the kind made popular by Wilkie ; elected 
A.R.A. 1815, R.A. 1816. 

1. The Travelling Druggist; Study for a Picture. The doorway of a 
cottage, overhung with creepers ; within, an old woman with a smalt boy in her 
arms leans over the half door listening to the druggist, who stands 1., while a 
little girl stands opposite against the r. doorpost. 

Pen-and-sepia, and sepia wash ; roy., 4§ x 3| in. 
The picture was exhibited in 1825. 

2. Tee Pale Student; Study for a Picture. A youth in mediaeval dress 
sitting 1. by a tree stem, roused from contemplation by another youth who 
plucks him by the arm and shows him a rose in his lifted hand ; in the sloping 
meadow behind are groups dancing and playing games. 

' Up, pallid dreamer, look on me ! 
Mine are the joyous day and night.' 
Pen-and-sepia, touched with white ; roy., 4§ X 3| in. 
Engraved on wood by H. Vizetelly. 

3. Three on one mount, roy., viz. :— 

(a) Lady Peveril and Bridgenorth. Bridgenorth hiding his head in his 
arms as Lady Peveril brings him his newborn child; a nurse in the 
background. 

Pen-and-sepia, and coloured chalks ; 2 X If in. 

(&) A Market Scene. A market place with groups of buyers and sellers ; at 
the r. an unharnessed horse and cart uptilted. Dated 15 Oct., 1826. Sun. 
Sat. 18. 

Pen-and-sepia sketch ; 2f x 4| in. 

(c) Haymakers. A hayfield ; at the 1. a girl with a rake, seen from behind ; in 
the r. foreground two boys tussling, one on his back ; beyond, the figure of a 
man only half indicated. 
Pen-and-sepia ; 4 J x 4 in. 

4. Study for the Portrait of John Sheepshanks, Esq. Portrait of Mr. Sheep- 
shanks seated 1. with a picture on his knee and a magnifying glass in his hand, 
and a number of portfolios resting against his chair ; he looks up to question 
his housekeeper, who stands r. in front of a richly ornamented fireplace. 

Sepia wash and pen ; roy., 15^ X 13£ in. 

5. Study for the same Picture. In this study, which is little more than outline, 
the figures are in the same position, but Mr. Sheepshanks is leaning forward 
and has no picture on his knee. 

Pencil and red chalk ; 18| X 13$ in. 

John Sheepshanks, b. 1787, was a Leeds merchant, remembered as a 
collector of modern British pictures, which he bequeathed to South Kensington 
Museum ; he was a friend and constant patron of Mulready ; d. 1863. 

G. Porch of St. Margaret's, York. A Norman porch with elaborately carved 
arches. Signed and dated W. Mulready, 1803. 

Indian ink, slightly tinted with water colours; roy., 12$ X 6J in. 



William Mulready. — J. Munn. — Paul Sandhy Munn, 127 

7. Study of Eocks. Kocks on a hillside ; with a small stream coming down into 
the foreground. 

Black chalk on gray paper, heightened with white ; roy., 10£ X 14§ in. 

8. Interior op a Herd's House, Mounces, Northumberland, 1814. A room 

with fireplace at the back, window 1. and raftered roof. 

Black chalk on brown paper, heightened with white; roy., 10f X 15 in. 

9. Study op Old Houses. The backs of a cluster of old houses 1., with a wall in 
front and a street in shadow r. 

Black chalk on gray paper, heightened with white ; roy., llf X 18J in. 

10. Study of Koofs. Koofs and gable ends of old houses, with birds flying about 
them. 

Black chalk on blue-gray paper, heightened with white ; roy., 7| X 16| in. 
Nos. 1-10 were purchased May, 1864, at the Mulready sale. 

11. Portrait op John Varley. Head in profile turned 1. eyes looking down. 

Black chalk on gray paper ; roy., 6§ x 5£ in. 

Etched by Mrs. Dawson Turner. The etching is mounted opposite the 
drawing. 

This portrait shows Varley as a young man, and was presumably made when 
Mulready was living with him near Oxford Street and helping to teach his 
pupils. Mulready married Valley's sister, 1803, but after about six years they 
separated finally. For Varley's biography see under his name. 

Purchased July, 1878. 

12. Cottages at Arreton, Isle op Wight. View up a little street, with buildings 
1. and thatched cottages at the end and trees beyond and at the r. ; at the 1. a 
man standing sketching. Inscribed Cottages at Arreton, Isle Wight. 

Pencil ; roy., 9| x 13£ in. 

13. Study of a Picture. Interior of a room in which a young man in the costume 
of a Eoundhead, with tall hat and cloak, sits r. looking at a young girl who 
dances 1. to the music of a fiddle played by her mother standing near her. 

Charcoal on brown paper, heightened with white ; ant., 24J x 37 § in. 
Purchased May, 1888. 

MUNN, J. (worked about 1816). Draughtsman; biography unknown. 

1. Elevation of the Bishop of Ely's House, Dover Street. Signed and dated 
/. Munn 1816. 

Indian-ink wash and pen ; 14 x 9J in. 

No. 103 in Portfolio X. of the Crace Collection of London Views, purchased 
November, 1880. 



MUNN, Paul Sandby (b. 1773, d. 1845). Water-colour painter; born 
at Greenwich ; son of a landscape painter, and godson of Paul 
Sandby; elected associate of the Old Water Colour Society 1806; 
exhibited at the Royal Academy and elsewhere 1798—1815 ; his later 
years were chiefly devoted to music ; worked at Greenwich and in 
various parts of England. 

1. Kock Fair, Hastings. A fair on a common at the back of a line of cottages on 
the sea-shore, beyond which appears the sea r. and the West Cliff 1. crowned by 
the ruins of Hastings Castle ; from the 1. foreground a road leads towards the 
Cliff, with a number of tents and a flagstaff r. and merry-go-rounds, empty carts, 
and logs of timber near a brick kiln 1. ; the whole scene crowded with figures, 
among them a sprinkling of soldiers; on the road is an officer on horseback 
Dated Rock Fair Eastings 1811. 
Water colours ; roy., 10 X 16 in. 



128 



Drawings of the British School. 



2. Hastings from White Eock. View on the sea shore at low tide, with a tall 
rock 1., looking E. to the West, Cliff and castle, and the East Cliff beyond ; an 
irregular line of cottages on the shore, and a brig and other smaller vessels 
drawn up on the beach at some distance ; two men on the beach near the water. 
Inscribed Hastings from White Rock. 1811. 

Water colours; roy., 10 X 16 in. 

3. At the Foot of the Lighthouse Steps, Hastings. A girl, with two pails of 

water sliiDg from her shoulders, going down a paved path in the 1. foreground 
from which the cliff side slopes up steeply r., with a cottage and garden half 
way up, in the shelter of a jutting mass of sandstone; in the distance 1. a 
glimpse of the castle on its height. Unfinished ; in a blank space r. a sketch in 
Indian ink of a girl with a dish in her hand. Inscribed Hastings 1811, at the 
foot of the Lighthouse steps. 

Water colours and Indian ink ; roy., 11J X 14§ in. 

Nos. 1-3 were purchased March, 1868. 

4. At Ambleside. A shallow stream coming into the foreground under a clump 
of trees and bushes at the side of a road which goes up to some cottages 1. ; at 
the r., part of a cottage, half hidden by bushes. Inscribed Ambleside 1809. 

Water colours on gray paper; roy., llf X 10| in. 

5. Two on one mount, roy., viz. : — 

(a) Near Dolgelly. View looking up a desolate valley with a range of 
mountains 1. ending in a distant pointed peak ; in the foreground a man on 
a path, and a man and boy crossing a footbridge over a stream. Inscribed 
Near Dolgelly, July 19, 1802. 

Indian ink and indigo ; 4f x 9$ in. 

(6) Helm Crag. View of Helm Crag from Grasmere ; a farm in the foreground 
r. among trees, over which Dunmail .Raise appears in the distance. 
Inscribed Helme Crag, Grasmere. 

Water colours and Indian ink ; 6| x 12| in. 

6. Buttermere. View on the eastern shores of the lake, with Honister Crag in 
front at the 1. and High Crag and High Stile beyond ; a boat on the lake r. 
Inscribed Buttermere. Aug. 18. 1804. 

Indian ink and indigo over pencil ; roy., 6§ X 13$ in. 

7. Eydal Mere. View from near the Ambleside Road, looking down on the lake, 

with Loughrigg 1. and Silverhowe above the hollow of Grasmere beyond. 
Inscribed Bydal Mere, Aug. 26, 1804. 

Indian ink and indigo over pencil ; roy., 6£ X 13£ in. 

8. Two on one mount, roy., viz. : — 

(a) Near Dolgelly. View looking up a valley to Cader Idris, the peak of 
which rises in front above a bank of cloud and mist. Inscribed near 
Dolgelly. 1802. 

Indian ink and indigo; 5 x 9 J in. 

(b) Near Machynylleth. A valley with Cader Idris beyond. Inscribed 

Near Machynylleth, July 17, 1802. 
Indigo and Indian ink ; 4| x 9f in. 

9. Two on one mount, roy., viz. : — 

(a) Nant Francon Pass, N. Wales. View near the head of the pass, above 
Llynn Ogwen (concealed by the foreground), with the conical mass of 
Trifaen rising towards the r. Inscribed Nant Fraunken, July 30, 1802. 

Indian ink, indigo and sepia ; 4J x 9 J in. 

(b) Nant Francon Pass. View looking up to the mountains above Llynn 

Idwal, hidden in a hollow beyond rising ground in front ; above at the 1., 
Trifaen. Inscribed Nant Fraanhen 1802. 
Indian ink, indigo and sepia ; 7| X llf in. 



Paul Sandby Munn. 



129 



10. Richmond, Yorkshire. The rocky bank of the Swale looking towards the 
stone bridge, with trees r. ; on the other bank of the river 1. the steep streets of 
the town and the castle On its hill. Inscribed Richmond, Yorkshire, July 14Wt 
1803. 

Indian ink over pencil ; roy., 8 X 12£ in. 

11. Ouse Bridge, York. A near view of the bridge, which spans the river at the 
1., with chapel and houses built over its further end ; a man in the foreground 
on the tow path, which goes under the nearest arch ; a boat on the river lowering 
its mast to pass the bridge. Inscribed Ouse Bridge — York — 1803, West, and 
Ouse Bridge, July 6th, 1803. 

Indian ink over pencil ; roy., 8| X 12f in. 

Compare the similar view by Girtin, Vol. II., p 229, No. 43. 

12. St. Mary's Abbey, York. Part of the ruined Abbey; an arch with window 
above and clusters of colunns flanking the wall ; bushes and fragments of stone 
in the foreground. Inscribed St. Muty's Abbey, York, July 5, 1803. 

Sepia and indigo over pencil ; roy., 12| x 8| in. 

13. Two on one mount, roy., viz. : — 

(a) Kirkstall Abbey from the N.E. A near view of the ruin> tufted with 
wild foliage, looking towards the angle of the chancel and the north 
transept. Inscribed Kirkstall Abbey, 1803, North. 

Indian ink over pencil; 7J X llg in. 

(b) Kirkstall Abbey prom the S.E. View of the Abbey and the Cloisters, 

among which grow trees and bushes. Inscribed Kirkstall Albey, 1803. 
Indian ink; 7£ X 11£ in. 

14. Rivaulx Abbey. A near view of the ruin from the N.E. ; the transepts and 

the choir seen in perspective 1. (the nave having entirely disappeared). 
Inscribed Rivaux Abbey, July 9th, 1803. 

Indian ink and indigo over pencil ; roy., 8| x 12J in. 

15. Rivaulx Abbey. A near view of part of the choir. Inscribed Rivaux Abbey 

Yorkshire, P. S. M. 
Indian ink over pencil; roy., lOf x 9J in. 

16. GrORDALE Scar. A waterfall pouring down from a chasm between towering 
cliffs. Insfribed Gordale near Malham, July 26, 1803. 

Indian ink and indigo over pencil ; r y., 12| x 8| in. 

17. Kippax Park, Yorkshire. An old oak growing 1. above a stream which comes 
down through the park from the r. into the foreground. Inscribed Kippax 
Park, July 5th, 1804. 

Indian ink over pencil ; roy., 12| X 9} in. 

18. Two on one mount, roy., viz. : — 

(a) Mouth op the Lahn. The Rhine with the Lahn flowing into it between 
a tower on the river bank r. and a village beneath a ruined castle on a 
height 1. ; beyond, a mountain rising out of mist. Inscribed Mouth of the 
Lahn. 

Indian ink and indigo ; 4£ x 6| in. 

(b) Nonneswerth and the Drachenfels. The wooded island of Nonnen- 

werth in the middle of the Rhine, with the 'castled crag' of Drachenfels 
r. and Rolandscck on its height 1. Inscribed Nonnenwerth, Drachenfels, 
Rolandseck, July, 1835. 
Indian ink and indigo; 5| X 10£ in. 

19. Two on one mount, roy., viz. : — 

(a) Well at Thorpe. A well, with a windlass above, and a bucket on the 
edge of it. Inscribed At Thorpe* 
Indian ink ; 10£ x 7 in. 

(l>) Hayricks. A field with a fence across a hollow r. and at the 1. beyond the 
fence two ricks, one behind the other; part of a shed in the r. foreground. 
Indian ink ; 5f X 11 J in. 
Nos. 4-19 were purchased December, 1889. 

VOL. III. k 



130 



Drawings of the British School. 



20. Walton Bridge. The bridge seen from the river bank, the centre of it hidden 
by the trees of an island in the stream, on which are two men washing skins 
fiom a wooden platform, having dammed up the water between the bank and 
island: a third man takes a basket towards them; on the further bank r. is a 
house among trees adjoining the end of the bridge ; in the foreground 1. is a 
poo] with casks in it ; further off, a girl by the river and an empty cart close 
under the bridge ; a few pigs on the island. Signed and dated P. S. Munn, 
1803. 

Water colours ; imp., 12| x 22§ in. 

Purchased October, 1853. 

MUNTZ or MUNTZ, John Henry (worked about 1755-1775). Painter ; 
of Swiss origin ; served in the French army ; brought to England 
from Jersey by Richard Bentley and introduced to Horace Walpole, 
who employed him as a painter and engraver ; painted chiefly Italian 
landscapes; published (1760) a book on encaustic painting, and 
exhibited works in that material with the Society of Arts, 1762 and 
1763. 

1. Landscape with a Monument. Two men and a dog on the bank of a stream, 
partly seen in the foreground; at the r., beyond a group of trees and bushes, a 
pyramidal monument backed by a hill ; at the 1. open ground with four figures 
at the edge of a wood, and a castle among distant trees. Signed and dated on 
the margin J. H. Muntz, July, 1772. 

Indian ink and water-colour tint; roy., 8f x 11£ in. 
Purchased August, 1861. 

2. Italian Landscape. Groups of shepherds and shepherdesses with their flocks 
on pastures bordering a lake or river, with scattered trees about its banks, and 
at the 1. a ruined monument between two clumps of pines, close by the water ; in 
the 1. distance a town, backed by hills. 

Indian ink and water-colour tint; roy., llf X 16£ in. 
Purchased July, 1878. 

MURPHY, James Cavanagh (b. 1760, d. 1814). Architect and 
antiquary ; born near Cork ; studied in Dublin and practised there 
as an architect; in Portugal 1788-1790, making drawings of the 
Church of Batalha; worked in Spain 1802-1809, in England from 
1809 till death; published works on Portugal and 'Arabian 
Antiquities of Spain.' 

1. Design for Completion of the Mausoleum of Kino Manoel. A view from 
the E. of the octagonal Mausoleum, with the round toweis at the angles 
(actually never carried beyond the lower part of the windows) completed as 
spires. 

Indian ink with pen outline, tinted in water colours; imp., 18| X 12J in. 

An elevation of Murphy's design for this building was engraved by S. Porter 
for Murphy's 'Plans and Views of the Church of Batalha,' 1795. The Capella 
Imperfecta, of which this is a suggested completion, was begun by Mattlieus 
Fernar.des for Manoel the Fortunate, perhaps in imitation of Henry VII. 's 
Chapel at Westminster ; but Fernandes dying in 1515, and leaving no working 
plans, the building remained unfinished. 

Purchased May, 1885. 

NAN T AM, J. P. (worked in the 18th century ?). Draughtsman ; biography 

unknown. 

1. Portrait of Elizabeth (or Joan), wife of Oliver Cromwell. Head in 
full face turned a little r., with headdress tied under the chin. Inscribed 
Joan Cromwell. Copied from the original by J. P. Nantam. 

Pencil: lOf x 7f in. 

No. 217 in Vol. VI. of the interleaved and illustrated copy of Clarendon's 
Rebellion, bequeathed by the Duke of Gloucester, 1834. 



Frederick Nash. — Joseph Nash. 



131 



NASH, Frederick (b. 1782, d. 1856). Water-colour painter ; born in 
Lambeth ; pupil of T. Malton, junior ; architectural draughtsman to 
the Society of Antiquaries ; member of the Old Water Colour 
Society j worked for some of Britton's and Ackermann's publications, 
and himself produced ' Antiquities of London,' ' Picturesque Views 
of Paris,' etc. ; after 1834 worked at Brighton, painting Sussex views 
and scenes in Normandy and on the Rhine, but remains best known 
by his earlier architectural drawings. 

1. Interior op Westminster Hall. View looking south down the length of the 
empty hall, rays of suDshine slanting in through the windows at the 1. 

Water colours : roy., 13£ x 10£ in. 
Purchased June, 1856. 

2. La Fontaine dfs Innocents, Paris. View of the fountain (built by Pierre 
L scot and Jean Goujon) with the tall houses of the square behind it, and the 
foreground filled with groups of figures. 

Pencil ; roy., 9| X 8| in. 

A different view of the fountain was engraved by H. Hobsou in Nash s 
'Picturesque Views of Paris,' 18^0. 
Purchased June, 1879. 

3. Principal Front or Drury Lane Theatre. View of the front in perspective 
looking W. down Russell Street. Signed F. N. 

Water colours; (without the margin) 13J X 7$ in. 

In Vol. IX. (No. 75) of the Buruey Collection of Theatrical Portraits. 

4. Spode's Manufactory, once a Theatre where Garrick performed. 

Witter colours ; (without the margin) 7 X 9J in. 

In Vol. IX. (No. 96) of the Burney Collection of Theatrical Portraits. 

5. Easty's Hotel, Southampton Street, Covent Garden. 

Water colours and pen ; 9| X 6J in. 

No. 89 in an album of Garrick Topography. 

6. View of the House in Adelphi Terrace in which Garrick resided. 

Water colour and pen ; 9| x 6f in. 

No. 90 in an album of Garrick Topography. 

7. Adelphi Terrace from the Eiver. Signed Nash. 

Water colours ; 7 J X 10| in. 

No. 91 in an album of Garjick Topography. 

Nos. 3-7 were purchased with the Burney Collection, 1817. 



NASH, Joseph (b. 1809, d. 1878). Water-colour painter and litho- 
grapher ; born at Great Marlow ; pupil of the elder Pugin ; elected 
associate of the Water Colour Society 1834, member 1842 ; exhibited 
illustrations to history and romance, and picturesque architectural 
pieces ; best known by his lithographed ' Mansions of England in the 
Olden Time' (four series, 1839-1849), and other publications. 

] . South Front of the Manor House, East Barsham, Norfolk. View looking 
down a road to the house, partly hidden by trees, with a bare hill behind ; in the 
foreground men with a team of horses, liauling timber. 

Sepia and white, with a slight water-colour tint ; roy., 6J x 8£ in. 
Lithographed by the artist in ' Views Illustrative of Pugin 8 Examples of 
Gothic Architecture,' 1830. 
Purchased October, 1877. 

k 2 



132 



Drawings of the British School. 



2. In the Cathedral, Bruges. The entrance to a side chapel, in which a woman 
kneels before the altar; before the steps of the entrance a peasant kneels and 
prays with hands outstretched ; at the r., part of a black and white marble altar 
with a painted altarpiece, and a woman and child seated on the steps in the 
foreground. 

Water colours and body colours ; roy., 14§ x 10£ in. 
Purchased May, 1885. 

3. Ockwells, near Maidenheau, Berkshire. Part of the interior of a high 
wainscotted room, with stained glass windows above the panels r., and a tall 
window in a bay ; three men in 17th century costume, one standing and drinking, 
the others seated. Signed and dated Joseph Nash, 1839. 

Water colours and body colours ; roy., 14§xl0 in. 

Lithographed by the artist (with additions) in ' Mansions of England,' pi. v. 

4. Chapel at Ightham Mote. View of the interior looking from the chancel; a 
lady in the costume of the 1 6th century kneeling on the chancel steps, attended 
by her page. Signed and dated Joseph Nash, 1839. 

Water colours and body colours ; roy., 1 1§ x 16| in. 

Lithographed by the artist (with different figures) in ' Mansions of England,' 
pi. XXXII. 

5. Chimney-piece in the Drawing-room, Speke Hall, Lancashire. A great 
carved chimney-piece, with fire burning ; at the r. a bay with stained windows. 
Inscribed Drawing-room, Speke, Lancashire. Signed Jos. Nash. 

Water colours and body colours ; imp., 13x18$ in. 

Lithographed by the artist (with figures added) in 'Mansions of England,' 
pi. Xi.VI. 
Nos. 3-5 were bequeathed by Henry Vaughan, Esq., August, 1900. 



NASMYTH, Alexander (b. 1758, d. 1840). Painter j born in Edin- 
burgh ; pupil and assistant of Allan Ramsay in London; from 1778 
in Edinburgh, painting portraits and family groups ; worked in Italy 
1782-84 ; in later life painted only landscapes ; known also for his 
constructive skill as an architectural designer. 

1. Dalswinton, Nithsdale. View looking across a park and lake to the house, 
built on a closely-wooded knoll ; beyond, the valley of the Nith and a distant 
view of Dumfries, with ranges of hills behind. 

Pen-and-ink and water colours; roy., 4£ X 6£ in. 

Engraved by J. Walker, and published by him July 1, 1796, in the ' Copper- 
plate Magazine,' Vol. HI., pi. 108. 

Dalswinton was the seat of Patrick Miller, well known as the projector of 
steam navigation, and it was on the lake here shown that he made his famous 
experiment with a boat worked by steam, 14th Oct., 1788. Nasmyth was an 
intimate friend of Miller's and made drawings of his inventions for Miller's 
publications. 

Purchased October, 1877. 

2. Classical Landscape. The top of a hill sloping down 1., with a group of 
figures near the foreground listening to a man playing a lyre, and a grove of 
trees behind r. ; in the 1. distance a line of hills. 

Pen-and-ink, with Indian-ink and water-colour tint ; roy., 6J X 9| in. 

3. View in North Wales. A grassy hill sloping down r. with a stream at its 
foot flowing into a lake in the foreground ; wooded plain and dark cloud in the 
r. distance. 

Water colours ; roy., 5| X 8 J in. 

4. A Forest Pool. A pool surrounded by oaks, with hills faintly seen beyond. 

Pen-and-ink and Indian-ink wash over red and black chalk ; roy., 
7Jx ll|in. 

Nos. 2-4 were purchased August, 1822. 



Patrick Nasmyth. 



133 



NASMYTH, Patrick (b. 1787, d. 1831). Landscape painter; born in 
Edinburgh, eldest son and pupil of Alexander Nasmyth ; from 1808 
worked in London ; foundation member (1824) of the Society of 
British Artists ; painted chiefly scenes in the neighbourhood of 
London. 

1. Between Bridgenorth and Much Wenlock. View over a densely wooded 
valley between cultivated uplands ; in the r. distance a hill, probably the 
Wrekin. Inscribed Between Bridgenorth and Much Wenlock Aug' 28. Signed 
and dated Pat. Nasmyth 1828. 

Water colours on drab paper ; roy., 9J X 13§ in. 
Purchased December, 1861. 

2. Turnpike House, near Cowes, Isle op Wight. A round house with a conical 
thatched roof, and a vine trained over the wall, standing 1. on a heath, witli 
sandy road in the foreground. Signed Pat h Nasmyth, and inscribed Turnpike 
House n r Cowes Isle of Wight. 

Water colours ; roy., 7J X 10J in. 
Purchased July, 1878. 

3. The Common. A road over an open heathy common, with a few scattered 
cottages on its further skirts; woods and distant hills beyond; a grey sky. 

Black chalk and water colours on gray paper ; roy., 9§ x 12| in. 
Purchased 1902. 

4. Album containing landscape sludies chiefly in the neighbourhood of London 

or in Scotland. All in pencil or black chalk. 



(1) Study op Beech Trees. 
Forest. 



Signed Pat k - Nasmyth, and inscribed Wansted 



(2) (a) Willow and Pond on a Heath. Signed Pat k - Nasmyth, and inscribed 
Near Wimbledon, Surrey. 

(b) A Cottage. Signed Pat k Nasmyth, and inscribed Cottage near Wands- 
worth. 



(3) (a) Stream and Wooded Hills. 
near Dunkeld, Scotland. 



Signed Pat k - Nasmyth, and inscribed 



(b) A Fakm on the Shores op a Bay. Signed P. N. 

(4) (a) A Country House, prom the Garden. Signed Pat k - Nasmyth, and 

incribed Marshalls, late the seat of Rowland Stevenson, Esq. 

(b) Landscape seen through a screen op Thorn Trees. Signed P. N. 

(5) (a) A Gate in a Park. 

(6) Clackmannan Tower, prom a Park. Signed Pat k - Nasmyih, and 
inscribed Clackmenan Tower, near Alloa, Scotland. 

(6) (a) A Path over a Common, Copethorn, Surrey. Signed Pat k - Nasmyth, 

and inscribed Copethorn, Surrey. 

(6) The Brow of a Steep Hill, with a Tower upon it. 



(7) (a) Study op Ash Trees. 
Edinbro\ 



Signed Pat k - Nasmyth, and inscribed near 



(b) Oaks in Windsor Forest. 
Windsor Forest. 



Signed Pat k - Nasmyth, and inscribed 



(8) (a) Inn at Tunbridge Wells, with donkey-men. Signed Pat k Nasmyth, 

and inscribed At Tunbridge Wells, Kent. 

(6) Cottage Yard at Battersea. Signed Pat k - Nasmyth, and inscribed 
Battersea Fields. 

(9) (a) A Koad through a Village. 
(b) Study of Trues. 



134 



Drawings of the British School. 



(10) (a) Geese in a Field near a Cottage. Signed P. N. 

(jb) Wayside Flowers and Weeds. Signed Pat k - Nasmyth, and inscribec 
Study for Foreground, Scotland. 

(11) (a) Cottages and Trees at Sonning. Signed Pat k - Nasmyth, and inscribec 

At Sunning, near Beading. 

(6) Marshalls. Sligbt sketcb for No. (4) (a). 

(12) Ivy Cottage, near Southampton. Signed Pat k - Nasmyth, and inscribe^ 
Ivy Cottage, n r . Southampton. 

(13) Near St. Albans. Meadows and stream. Signed Pat 1 - Nasmyth, and 
inscribed View n'\ St. Albans. 

(14) Cottage at Gravesend. Signed Pat k - Nasmyth, and inscribed View a 

Gravesent, Kent. 

(15) Trees by a Eoad. 

(16) Near Godstone. Signed Pat k - Nasmyth, and inscribed Heath nea 
Godstone, Surrey. 

(17) Cottage near Cowes. Signed Pat k Nasmyth, and inscribed Cottage near 

Cowes, Isle of Wight. 

(18) Gate op Wanstead House. Signed Pat k - Nasmyth, and inscribed Gate of 
the late Wanstead House, Essex. 

(19) Trees in the New Forest. Signed Pat k - Nasmyth, and inscribed New 
Forest in Hampshire. 

(20) Trees at Wanstead. Signed Pat k - Nasmyth, and inscribed Wanstead. 

(21) Wanstead Forest. Signed Pat k - Nasmyth, and inscribed Wansted Forre>t. 

(22) West Hoadley, Sussex. View over wooded country to tbe Downs beyond. 
Signed Pat k - Nasmyth, and inscribed West Hoadley, Sussex. 

Purcbased October, 1901. 



NATTES, John Claude (b. about 1765, d. 1822). Water-colour 
painter ; pupil of Hugh. Deane, an Irish landscape painter ; well 
known as a topographical draughtsman ; travelled all over Great 
Britain, and worked also in France ; original member of the old 
Water Colour Society 1804, but expelled 1807 ; published ' Hibernia 
Depicta,' ' Scotia Depicta,' etc. 

[1-4] Drawings in tbe Crace Collection of London Views, purchased November, 
1880. 

1. The Old Powder Magazine in Hyde Pare. Dated and signed 1802, 
J. C. Nattrs. 

Pen and Indian ink; 12^ x 16J in. 
No. 39 in Portfolio IX. 

2. Old Cavalry Barracks, North Front, near Kensington Palace. Signed 

and dated C. Nattes. 1804. 
Pen and sepia ; 11 x lfi| in. 
No. 8 in Portfolio X. 

3. View on Banesidf, near Blackprtars Bridge. 

Indian-ink wnsli and pen : (if x 11| in. 
No. 185 in Portfolio XXXIV. 

4. West View of Christchurch, with the Old Buildings in Front. 

Indian-ink wash and pen ; Cf x 11| in. 
No. 3 in Portfolio XXXV. 



John Claude Nattes. 



135 



5. Sketch-book containing chiefly sketches of views in London and neighbourhood. 

(1) Ob. Landscape with castle on rocks above a torrent. 

Pen-and-ink. 

Bev. Three Sketches op a Chelsea Pensioner, with his head in a sort 
of box. Inscribed This soldier now at Chelsea College having caught the 
fever at Walcheren, it had such an effect upon his nerves that^ he cannot 
now keep his head steady ; to enable him to do so the above machine was in- 
vented. Drawn from nature, June 2bth, 1810. 
Pencil and Indian ink. 

(2) An Old Tree. Inscribed Kensington Gardens, May 29th, 1810. 

Pen-and-ink. 

(3) An Old Tree. Inscribed Kensington Gardens near the Great Walk, May 
29th, 1810. 

Pen-and-ink and sepia wash. 

(4) A Broken Tree. Inscribed Tree broken June 2nd, 1809, and Drawn 
May 29th, 1810, Kensington Gardens. 

Pen-and-ink. 

(5) Bird Cage Walk, St. James's Park. Inscribed Bird Cage Walk, May 
'61st, 1810, from the window of Capel Cure's, Esqre., George St., Westminster. 

Pen-and-ink and Indian-ink wash. 

(6) ' The Cottage, Hyde Park.' Dated June 1st, 1810. 

Pen-and-ink. 

(7) 'Entrance to Mr. Ludlam's House, North End.' Dated June 16th, 
1810. 

Pen-and-ink. 

This is the house formerly belonging to Samuel Bichardson and since to 
Sir Edward Burne-Jones. 

(8) ' Back ov Scarsdale House, Kensington.' Dated Tu. 2nd, 1810. 

Pen-and-ink and Indian-ink wash. 

(9) 'Garden Front op Grosvenor House.' Dated June, 1810. 

Pen-and-ink. 

(10) Italian Villa near the Sea. Inscribed From a model, June ith, 1810. 

Black chalk, Indian-ink wash and pen. 

(11) Two Old Trees. Inscribed Hyde Park, June 1th, 1810. 

Pen-and-ink. 

(12) A Broken Tree. Inscribed Hyde Bark, June 1th, 1810. 

Pen-and-ink. 



(13) An Old Tree. 
Pen-and-ink. 



Inscribed Hyde Bark, near the Cottage, June 1th, 1810. 



(14) A Cottage by a Gate into a Road. Inscribed Upper Clapton June 1th, 
1810. 

Pen-and-ink. 

(15) Trees in Hyde Park. Inscribed Hyde Bark, June 1th, 1810. 

Pen-and-ink. 

(16) ' Hyde Park Cottage.' 

Pencil. 

(17) ' Mr. Ludlam's House, North End.' From the garden. Dated June 
1810. 

Pen-and-ink and Indian-ink wash. 

See note on No. (7) above. 

(18) An Old Tree. Inscribed Hyde Bark, June, 1810. 

Pen-and-ink. 



136 



Drawings of the British School. 



(19) Stt'Dies op Trees. Inscribed Hyde Park, June, 1810. 

Pen-and-ink. 

(20) Studies of Trees. Inscribed Hyde Park, June, 1810. 

Pen-and ink. 

(21) 'Grosvenor House.' 

Pen-and-ink. 

(22) 'Cottage, Hyde Park.' 

Pen-and-ink. 

(23) 'White Stiles and Koad Leading to the College' (at Chelsea?). 
Dated June 12th, 1810. 

Pen-and-iuk. 

(24) ' Stone Mason's Yard, Chelsea Bridge.' Dated June 15th, 1810. 

Pen-and-ink. 

(25) A Park Scene. Inscribed Composition. 

Pen-and-ink. 

(26) 'Stone Mason's Yard, Kensington Church, etc' Dated June 19th, 
1810. 

Indian-ink wasb and pen. 

(27) 'The Back of the old Hose and Crown Inn, Stoke Newington.' 

Indian-ink wash and pen. 

(28) 'Interior of Barn, Stoke Newington.' 

Indian-ink wash and pen. 

(29) 'Farm Yard, Stoke Newington.' 

Pen-and-ink. 

(30) ' Canonbury Lodge.' With a party in a chaise about to start. 

Indian-ink wash and pen. 

(31) Small Bridge over the Serpentine. Inscribed Hyde Park. 

Indian-ink wash and pen. 

(32) • North End Green.' Dated July, 1810. 

Indian-ink wash and pen. 

(33) Artillery Min with a Gun, Crossing a Bridge. Inscribed Hyde 
Park. 

Pen-and-ink. 

(34) Bridge in course of erection over the Serpentine. Inscribed Hyde 
Park. 

Indian-ink wash and pen. 

(35) 'From Grosvenor House Window.' Dated July, 1810. 

Pen-and-ink and pencil. 

(36) 'Farm Yard, Stoke Newington.' 

Pen-and-ink and pencil. 

(37) Remains of the Bishop's Palace, Stoke Newington, with boys playing 
cricket. 

Pen-and-ink. 

(38) 'Wharf and Part of Blackfriars Bridge from Earl Street.' 
Signed J. C. Nattes, and dated July, 1810. 

Pen-and-ink. 

(39) Part of a Building. Unfinished. 

Pencil and pen-and-ink. 

(40) 'From Admiral Nugent's House, No. 14, Wigmore Street.' Dated 
July 5th, 1810. 

Pen-and-ink and Indian-ink wash. 




John Claude Nattes. — John Preston Neale. 



137 



(41) Ob. ' Canonbury Lane.' Showing Canonbury Tower. 
Archer's drawing, Vol. I., p. 58.) 
Pen-and-ink and Indian-ink wash. 

Rev. View op a Street from under an Archway. 
Pen-and-ink and pencil. 



(See note to 



(42) ' The Kev d . Mr. Forster's at Hanwell 
Pen-and-ink and Indian-ink wash. 



(43) 



Carpenter's Yard at Hanwell.' 
Pen-and-ink and Indian-ink wash. 



Dated July 1th, 1810. 
Dated July 1th, 1810. 



(44) ' Mount Pleasant near Twypord, with Harrow at a Distance.' Dated 
July 1th, 1810. 
Pen-and-ink. 



(45) ' House at Twypord, the Seat op 
1810. 
Pen-and-ink. 



Willan, Esq.' Dated July 1th, 



(46) ' Castle Bear Lane with part of the Duke of Kent's House, Lodge, 
etc' Dated July 1th, 1810. 

Pen-and-ink. 

(47) ' Admiral Nugent's House, Wigmore Street.' From the garden. 

Pen-and ink and Indian-ink wash. 

(48) ' On the New Elver near Stoke Newington.' A disused mill, with 
boys playing see-saw in the foreground. 

Pen-and-ink and Indian-ink wash. 

(49) View on the New Kiver (?) with a Church in the Distance. 

Pen-and-ink. 

(50) Canonbury Hall. 

Pen-and-ink and Indian-ink wash. 

(51) 'Mr. Elliker's, No. 38 Upper Brook Street.' From the garden. 

Pen-and-ink, with Indian-ink and slight water-colour tint. 

(52) Burning Buildings and Firemen. Inscribed Part of the Remaines of 
Huntingdon's Chapell and 1 Houses in Riding House Lane and Little 
Titehfield Street which were burnt July ith, 1810, Drawn July 16th. 

Pen-and-ink and Indian-ink wash. 

(53) Bridge over the New Kiver. 

Pen-and-ink. 

(54) ' Scarsdale House, Kensington.' Unfinished. 

Pencil. 

(55) * Highbury Barn and Tavern, Islington.' 

Pen-and-ink and Indian-ink wash. 

(56) Ob. A Composition. Buin on a hill in a landscape. 

Pen and pencil and Indian-ink wash. 
Rev. Lighthouse and Shipping at a Mediterranean Port, 
Pen-and-ink. 
Purchased October, 1898. 



Inscribed Near Stoke Newington. 



NEALE, John Preston (b. 1780, d. 1847). Architectural draughtsman; 
first known by his drawings of insects ; afterwards by his tinted 
architectural subjects ; exhibited at the Royal Academy and else- 
where 1797-1844 ; published a history of Westminster Abbey 1823, 
and a great series of Views of Country Seats 1818-1829 ; worked iu 
London. 



■■■■i 



138 



Drawings of the British School. 



1. Fairlawn, Kent. View of a house at a little distance, with lawns in front of it 
shelving r. into a wooded hollow, and backed by wooded hills ; two ladies and 
a child in the foreground and other figures nearer the house. 

Sepia ; roy., 3f X 5f in. 

A different view from that engraved (1821) by T. Matthews in Vol. II. of 
Neale's ' Views of the Seats of Noblemen and Gentlemen, etc' 

Purchased June, 1889. 

[2-4] Drawings in the Crace Collection of London Views, purchased November, 
1880. 



2. The Entrance to the London Docks, 1815. 

Water colours ; 5 J x 8 in. 
No. 89 in Portfolio VIII. 

3. The Mansion House, 1828. 

Sepia ; 2| x 4 in. 

No. 114 in Portfolio XXI. 



4. Ely Chapel, Ely Place, East Front. 
Water colours ; 8Jx5£in. 
No. 105 in Portfolio XXVII. 



Signed and dated /. P. Neale, 1815. 



NESFIELD, William Andrews (b. 1793, d. 1881). Painter and 
etcher ; educated at Winchester and Cambridge ; entered the army 
and served in the Peninsular War and in Canada; retired in 1816 
and devoted himself to art ; member of the Water Colour Society 
1823-1852 ; well known for his drawings of waterfalls ; "in later life 
relinquished painting for landscape-gardening, and designed the 
grounds at Arundel and other country seats. 

1. Waterfall near Ludlow. A stream pouring down into a rocky pool from a 
valley above ; brandies of a tree r. 

Water colours and body colours; imp., 19 x 12f in. 
Purchased February, 1877. 



NEWTON, Gilbert Stuart, R.A. (b. 1794, d. 1835). Painter; born at 
Halifax, Nova Scotia; pupil of his uncle, Gilbert Stuart; visited 
Europe and worked in Florence ; came to London from Paris, 1817, 
with C. R. Leslie, and studied at the Royal Academy ; exhibited 
portraits at first, but from 1823 painted chiefly the illustrations to 
literature, by which he is best remembered ; elected A.R.A. 1829, 
R.A. 1832; died insane. 

1. Study op a Young Lady Carrying a Baby. Three-quarter length study of 
a young lady seen in profile, turned 1., with a baby in her arms. Signed and 
dated in pencil G. Stuart Newton, 1823, and inscribed in ink Given to my friend 
J. T. Smith, Esq. 

Ked and black chalk ; roy., 9£ X 6J in. 

2. Ob. Study of a Girl. Head and shoulders of a girl, wearing a cap, in profile 
looking 1. 

Eed, black and white chalk on warm gray paper ; roy., 7 X 8 in. 

Rev. A Girl Asleep. A girl lying on a couch with face turned away ; heavy 
curtain above, and a book on a small table in front. 

Red, black and white chalk. 

Both purchased June, 1886. 



Richard Newton. — William Newton.— Sir W. J. Newton. 139 



NEWTON, Richard (b. 1777, d. 1798). Caricaturist and miniature 
painter ; became known when quite young for his caricatures, and 
painted also miniatures, but died before his talent could mature ; 
worked in London. 

1. A Prisoner of the Reion of Terror. A man in a wig, blue coat and purple 
waistcoat, sitting in a chair by a table, his head resting on his hand and looking 
tearfully to a small barred window in the wall of his cell ; behind him stands a 
pitcher under the door, through an opening in which looks a ferocious-looking 
gaoler. Signed B. Newton. 

Indian ink and water-colour tint ; roy., 9| X lljin. 

This drawing has been called ' La Be'doyere in Prison,' but Newton's date 
puts this out of the question, as that general of Napoleon's was not born till 
1786 and was not imprisoned till 1815. It more probably represents La Fayette. 

Purchased August, 1871. 

NEWTON, William (b. 1735, d. 1790). Architect; son of a London 
cabinet maker ; pupil of William Jones ; designed many houses in 
London and the neighbourhood ; decorated Greenwich Chapel ; 
published the first English translation of Vitruvius ; exhibited at the 
Royal Academy and elsewhere 1760-S4. 

1. Portrait of the Artist. A youthful head and shoulders, in three-quarter 
face looking full, brown hair tied behind. 

Indiau iuk, with slight water-colour tint; oval; roy., 8£ X 6f in. 

2. DEsrGN for the Exchange, Dublin. Front elevation of the building, with 
portico in the centre and dome above and behind. Inscribed Design for the 
Exchange, and signed W. Newton, Archt. 

Indian ink and water-colour tint, witli pen outlines ; roy., 12g X 18£ in. 

3. Section of the Altar End of a Church. Section of a church, showing 
galleries at the sides ; a picture of the Kesurrection under a canopy at the east 
end. Inscribed Section of the Altar end. 

Indian ink, with pen outlines ; roy., 10J x 14 in. 
All purchased March, 1887. 

NEWTON, Sir William John (b. 1785, d. 1869). Miniature painter; 
son of James Newton, the engraver, and nephew of the preceding 
William Newton ; began as an engraver, but soon turned to miniature 
painting and gained great vogue ; miniature painter to William IV., 
and from 1837-1858 to Queen Victoria; worked in London; 
exhibited at the Royal Academy 1808-1863. 

1. Portrait of the Artist. Drawn in youth, head and bust turned 1., the face 
in three-quarters turned 1. and looking full. 

Black and white chalk on blue paper; roy., 13| X 10|in. 

2. Queen Victoria in her Coronation Robes. Whole-length figure of the Queen 
in robes of cloth of gold, crowned and seated on a throne, leaning forward with 
right hand extended. Inscribed Sketch which I took at St. James' Palace for the 
Coronation picture. 

Water colours and body colours ; roy., 14£ x 10£ in. 

3. Portrait of Joanna Baillie. Bust turned to front and 1., the face in three- 

quarters turned 1. but looking full ; a turban over the gray hair ; green curtain 
behind. Inscribed Mrs. Johanna Baillie, and signed W. J. N. 

Pencil and light water-colour wash ; roy., 9| X 7$ in. 

Engraved by H. Robinson as frontispiece to Miss Baillie's Dramatic and 
Poetical works, 1851. Joanna Baillie, b 1762 at Bolhwell, Lanarkshire, became 
widely known by her 'Plays on the Passions,' of which two series were published, 
1798 and 1802 ; one of these, ' Do Montfort,' was produced with some success by 
Kemble and Mrs. Siddons ; published poems and a number of other dramas, 
greatly admired by Scott and others ; lived from 1784 in Loudon, and from 1806 
with her sister at Hampstead ; died unmarried 1851. 



140 



Drawings of the British School. 



4. Pobtrait of Ann Davis. Head of a young lady in three-quarter face turned 1. 
and looking 1. ; the hair in ringlets, tied with a ribbon. Inscribed Ann Davis, 
and signed W. J. N. 

Black and red chalk ; roy., 8 X 6 in. 

5. Poetkait of a Ladt. Half length of a lady of middle age, •wearing a frilled 
cap tied under the chin, seated facing to front, the face in three-quarters 
turned r., and looking r. ; a jewelled pendant hangs at her neck. 

Pencil and water colours ; roy., 8 X 6 in. 

6. Portrait of a Lady. Half length of a young lady, seated, turned to front 
and 1., the face in three-quarters, turned 1., eyes looking full, a long veil hanging 
over the shoulders but lifted from the face. Signed and dated W. J. N., 1827. 

Pencil and water colours ; roy., 8£ X 7| in. 

7. A Lady Playing a Harp. Three-quarter length standing and playing on a harp 
while she turns away her head to the 1. ; she is dressed in a low and simple 
dress, and has a fillet round her hair. Signed W. J. N. 

Pencil, red chalk and black ; roy., 9 X 7 in. 
All purchased March, 188 T. 

NIBBS, Richard Henry (worked about 1841-1889). Painter ; chiefly 
of marine subjects ; worked in London ; exhibited a large number 
of pictures, chiefly at Suffolk Street and at the Royal Academy. 

1. Fishing Boats. A lugger newly arrived in harbour, the pier of which appears 
r., with a small boat on either side, and fishermen busy unloading her; a haze 
over the still sea, and a sail in (he distance 1. Signed B. H. Nibbs. 

Water colours ; imp., 13£ X 20& in. 

Purchased July, 1878. 

NICHOLL, Andrew, R.HA. (b. 1804, d. 1886). Landscape painter; 
worked chiefly at Belfast, his native place. Member of the Royal 
Hibernian Academy; exhibited at various galleries in London, 1832- 
1867 ; painted in Ceylon for Sir J. E. Tennant. 

1. Giants' Causeway, Ireland. View looking E. along the coast, with the sea 1. ; 
masses of columnar basalt, enclosing salt pools and filling the foreground, and 
rising higher in the middle distance ; beyond, a precipitous headland.. 

Water colours ; roy., 9| X 16f in. 
Presented by Miss Nicholl, October, 1886. 

2. Temple in Ceylon. A temple among palm trees. Inscribed Hindoo Temple, 
Marandaha, near Colombo, Ceylon, Ftby. 15, 1849. 

Pencil on drab paper, heightened with white ; rounded at the corners ; roy., 
10 X 14£ in. 

3. Entrance to the same Temple. A lofty square-topped archway in a wall 

flanked by highly ornamented towers, and showing the temple beyond in an 
enclosure ; a palm tree in front of the gateway, and two within it. Inscribed 
[Entran]ce to the Hindoo Temple, Marandaha, near Colombo. 

Pencil on drab paper, heightened with white, rounded at the corners ; roy., 
9£ X 14J in. 

Nos. 2 and 3 were purchased August, 1889. 

4. Kathlin Island, Doon Point. A headland of columnar basalt jutting from 

the 1. into the sea, which breaks in rolling waves on the sandy beach in the 
foreground ; cormorants and gulls skimming over the spray ; the masts and 
bows of a wreck off a point, and rain darkening the distant sea ; a gleam from 
the cloudy sky touches the basalt cliffs. Signed A. Nicholl, B.H.A., and 
inscribed Painted 1878. 

Water colours ; ant., 19g X 28| in. 

Presented by Miss Nicholl, September, 1886. 



William Nicholl. — Francis Nicholson. 



141 



NICHOLL, William (worked in the latter half of the 19th century). 
Landscape painter ; brother of Andrew Nicholl. 

1. Loch Ard. The shores of the lake, with a line of hills opposite, and a grove of 
trees by the water r. ; beyond the line of hills, a bare conical mountain. Signed 
Wm. Nicholl. 

Water colours ; roy., 8§ X 12f in. 

2. A Woodland Path. A path through a hollow among undulating slopes, some 

grassy, others thickly grown with brushwood and trees. 
Water colours ; roy., 8J x 13§ in. 

3. Ob. A Pool in the Woods. Keeds and stones on the margin of a pool, with 
dense thicket beyond. Signed W. Nicholl. 

Water colours ; roy., 9 x 13 in. 

Bev. Study of Two Pine Trees. 
Water colours. 

4. Pool and Weir. A pool, fringed with bushes, with a bridge and weir at the 

further end and densely wooded hills beyond. 
Water colours; 8f X 12J in. 

5. Ob. The Cottage on the Hill. A cottage r. on the top of a rough knoll, 
partly shaded by a dark clump of trees ; at the 1. a valley with a little stream 
and a path crossing it by a footbridge into the foreground. Signed Wm. Nicholl. 

Water colours ; roy., 8§ x 13£ in. 

Bev. Sunset Over the Sea. An arm of the sea with the sun setting over a 
distant put pie coast; groups of figures on the beach in the foreground; a few 
sails in the distance. 
Water colours. 

6. Ob. The Fallen Tree. A pool with bulrushes in the centre and a clump of 
trees on the further side ; a tree on the bank r. has fallen and lies across the 
pool. Signed Wm. Nicholl. 

Water colours ; roy., 8| x 1 3f in. 

Bev. Study of Trees. A group of trees, with water and mountain beyond, in 
evening light. Inscribed with a memorandum as to the colours to be used. 

Water colours. 

All presented by Sidney Colvin, Esq., June, 1886. 



NICHOLSON, Francis (b. 1753, d. 1844). Water-colour painter and 
lithographer ; born at Pickering, Yorkshire ; pupil of Metz in 
London, but worked chiefly in Yorkshire till 1800, painting portraits 
at first, then water-colour landscapes ; from 1800 in London ; original 
member of the Water Colour Society ; president of the Society of 
Painters in Oil and Water Colours 1812-13; noted for technical 
developments in the practice of water colours, chiefly the device of 
stopping out the lights; published (1820) a book on landscape 
painting which went through several editions, and many sets of 
lithographs. 

1. Bristol High Cross. A lofty spire-shaped cross with effigies of English kinps 
under decorated canopies, standing 1. in a garden : pencilled indications of 
tre» s r., inscribed Beech & Acacia. 

Water colours, with pen outlines; roy., 14J x 8Jin. 

Accompanying this sketch on a separate mount is a note in the artist's hand- 
writing recording the history of the cross. According to this account it was 
erected in 1373 in Bristol, near the Tolsey ; taken down, enlarged and raised 
higher 1633, removed to College Green 1733, a°;ain taken down 1762 and after- 
wards given to Mr. Henry Hoare of Stourton, who placed it in his garden. 

Purchased October, 1872. 



142 



Drawings of the British School. 



2. Mountains on the Coast. Heathery slopes overlooking a bay (Solway Firth ?) 

and a range of crowding hills beyond ; at the r., over the open sea, the after- 
glow of sunset ; a few sails on the water, and two men sitting on a high boulder 
1. in the foreground. 

Water colours; imp., 15g x 17 in. 

Purchased August, 1853. 

3. Dropping Well at Knabesborough, Yorkshire. Overhanging masses of mossy 

rock, rising r. above a path bordering the river Nidd, on the other side of which 
appears the town of Knaresborough with its castle and its bridge : from the 
rocks the water drops in numberless fine threads to a stream below. In the 
foreground are two men leaning against a fence : further off, on a bench by a 
stone stair beneath trees, two men and a lady sit watching the dropping well. 

Water colours and pen; imp., llf x 16gin. 

Engraved with modifications (probably from another version of the drawing) 
by J. Walker, and published by Mm in the ' Copper-plate Magazine,' March, 
1798. 

Purchased May, 1876. 

4. Hackfall, near Eipon. A road at the top of a hill, going down r. among 
woods; on the road three men, two of them talking together and one of them 
lot iking out over a vast prospect of green country, bounded by low hills 1., with 
a swift stream winding through the midst of it, between well-wooded banks. 

Water colours; atl., 16J X 220 in. 

5. Stone-Byers Fall on the Clyde. View of the falls from the rocky pool 
below, fringed with overhanging bushes; two men in Highland costume, one 
sitting, the other standing on a rock in the foreground. 

Water colours ; atl., 16j| X 22g in. 

Nos. 4 and 5 were purchased December, 1871. 

G. A Waterfall in Scotland. View of a torrent which comes down a valley and 
falls over rocks into a wide basin below, eddying out into the foreground r. ; 
on a rock jutting 1. into the basin is a fisherman in a plaid ; above the fall, on a 
wooded high bank r., a water-mill. 

Waier colours; atl., 17g x 23£in. 

Purchased August, 1875. 

7. St. Paul's, prom Somerset House. View on the Thames, looking to St. Paul's, 
with Somerset House unfinished in the 1. foreground, and boats on the river. 
Water colours and Indian ink; llf x 10 J in. 

Inserted in Vol. VI. (No. 2) of the interleaved copy of Pennant's 'London,' 
bequeathed by J. C. Crowle, Esq., 1811. 



NIEMANN, Edmund John (b. 1813, d. 1876). Landscape painter; 
born at Islington, of German extraction ; worked at High Wycombe, 
and later in London ; painted landscapes from many parts of England, 
in oils and water colours ; exhibited at the Royal Academy and 
elsewhere 1844-1872. 

1. Norwich from the Marl Pits. Norwich Cathedral and part of the city 
seen from a high bank above the river with trees in the foreground r. and sheds 
1. Inscribed Norwich from the Marl Pits. N. 51. 

Water-colour sketch, unfinished ; imp., 14 X 19| in. 

Purchased July, 1899. 

NIXON, James, A.R.A. (b. about 1741, d. 1812). Miniature painter; 
worked in London ; exhibited at the Society of Artists and Royal 
Academy, 1765-1805, sending a few oil portraits and designs to 
illustrate ' Tristram Shandy,' but best known by his miniatures, 
especially of theatrical celebrities ; limner to the Prince of Wales ; 
elected A.R.A. 1778. 



J. Nixon. — A. Noel. — J. Nollehens. — L. Northey. 



143 



1. Sydney Gar*dens, Bath. A garden adjoining a building r. which has a balcony, 
on which musicians are playing, and enclosed by rows of boxes or alcoves in which 
people are seated drinking, except at the 1., where a path leads among trees 
to a swing. In the enclosure are numbers of people, some of them invalids ; in 
the foroground 1., a group stands near an old lady and young couple seated on 
a bench near a tree ; at the r. a man shows his tongue to his doctor, and two 
children run after three fighting dogs ; in one of the alcoves nearest the building 
a clumsy waiter lias upset a great bowl on an angry customer's legs. In the 
distance is a green hill, bathed in warm evening light from the r. Signed 
and dated /. Nixon, 1801. 

Water colours and Indian ink ; atl., 19 J X 26 in. 

Purchased August, 1869. 



NOEL, Amelia (worked about 1795-1804). Water-colour painter and 
teacher of drawing ; worked in London ; exhibited at the Royal 
Academy, 1795-1804. 

1. Windermere. View between trees from a roadside on a hill overlooking the 
lake and its islands ; a sunset j<low in the sky r. ; a man on the road, and a man 
and woman on the bank above it. 

Water colours ; roy., 4£ X 6J in. 

Engraved by J. Walker for the 'Copper-plate Magazine,' published by him 
July 2, 1798, Vol. IV., pi. 155. A trial proof of the engraving is mounted with 
the drawing. 

Purchased May, 1890, at the Percy sale. 



NOLLEKENS, Joseph, R.A. (b. 1737, d. 1823). Sculptor; son of 
J. F. Nollekens, portrait painter ; born in London ; pupil of 
Scheemakers ; studied in Rome for some years, returning 1770, and 
became the most popular sculptor of his clay ; best known for his 
portrait busts ; an eccentric character of miserly habits ; elected 
A.R.A. 1771, R.A. 1772. 

1. Sketch for the Statue of Pitt in the Senate House, Cambridge. 

Black chalk ; roy., 9£ x 6£ in. 

2. Sketch for a Composition of Laocoon. 

Black chalk ; roy., 7£ X 6f in. 

3. Design for a Monumental Group. A figure in Roman dress, baton in hand, 
seated on a raised seat between Mars and Minerva. Signed and dated J.N.f. 
1799. 

Black chalk, washed with Indian ink ; roy., 9J X 7J in. 
All purchased April, 1901. 



NORTHEY, Lucy (worked about 1830). Amateur ; biography unknown. 



1. Illustration to a Story. A Polish soldier seated on a bank of turf, with his 
back turned and his weapons lying beside him, talking across a table to another 
who sits with his head in his hands, while a womau in a fur cap listens 1. 
Signed Lucy Northey. 

Fen-and-ink ; roy., 6| x 5£ in. 

Purchased May, 1876. 



144 



Drmvings of the British School. 



O'CONNOR, James Arthur (b. 1791, d. 1841). Landscape painter; 
born in Dublin ; son of an engraver, and trained to engraving, but soon 
took to painting ; came to London with F. Danby 1813, and returned 
there after some years in Dublin ; worked also in Paris, Belgium and 
Rhenish Prussia ; member of the Society of British Artists, and 
exhibitor with them and at other galleries 1822-1840. 

1. Westport, Co. Mayo. View from rising ground looking down on the town, 

lying towards the 1. among undulating wooded country, with estuary and 
islands beyond, and a conical hill on the coast 1. Signed J. A. O'Connor, delt. 
Inscribed The Marquess of Sligo's house and demesne with the town and bay of 
Westport, Co. Mayo. 
Pen-and-ink ; roy., 6J X 10g in. 

2. Two on one mount, roy., viz. : — 

(a) Delphi Cottage, Co. Mayo. Part of a reedy estuary, with the cottage on 
the further shore at the foot of the mountains ; a man in a bont in the 
foreground. Signed J. A. O'Connor delt, and inscribed Finloch with Delphi 
Cottage, the Fishing Seat of the Marquess of Sligo, Co. Mayo. 

Pen-and-iuk ; 3£ x 6| in. 

(b) Ben Grugaan, Co Mayo. Part of a lake with a mountain 1. Signed 
J. A. O'Connor delt, and inscribed Ben Grugaan ivith part of Dooloch, Co. 
Mayo. 

Pen-aud-ink ; 4§ X 6§ in. 

3. Two on one mount, roy., viz. : — 

(«) Mount-Browne, Co. Mayo. View over a wooded park to a mansion 
placed in a lap of the hills, with a higher range beyond and a conical peak 
r. Signed J. A. O'Connor delt, and inscribed Mount Browne, the Seat of the 
Bight Honble. Dennis Browne, Co. Mayo. 
Pen-and-ink ; 4£ X 7J in. 

(b) Rudesheim. View looking up the Rhine from the bank near Bingen, with 
Rudesheim on the opposite bank 1. ; a boat and rafts of timber in the 
foreground. Inscribed At Bingen on the Bhine. The town of Rudesheim to 
the left. July, 1833. J. A. O'Connor. 
Pencil; 4§ x llf in. 

4. Two on one mount, roy., viz. : — 

(a) Bingen. View on the bank of the Rhine looking up the river to Bingen. 

Inscribed The town of Bingen on the Bhine with the ruins of the Castle of 
Klopp and Mavsthurm. July, 1883. J. A. O'Connor. 
Pencil ; 4 x 5£ in. 

(b) Rhetnstein. View on the Rhine, flowing between hills, on a wooded spur 

of which, at the 1., is the Castle of Rheinstein. Inscribed The Castle of 
Bheinstein on the Bhine, the property of Prince Frederick of Prussia. July, 
1883. J. A. O'Connor. 

Pencil ; 4x5J in. 

Nos. 1-4 were purchased February, 1872. 

5. Ob. Killiney Bay. View looking S. along the coast; a hillside in the fore- 
ground sloping up r. ; two conical hills in the distance. Inscribed Killiney 
Bay, Co. Dublin. 

Sepia wash an 1 pen ; roy., 4| X 7§ in. 

Rev. Castle Trory on the Shannon. A near view of the ruined castle 
standing r. on the river bank; in the distance wooded shores and Mount 
Shannon among trees; beyond, the Keeper Mountain. Inscribed below Castle 
Trory on the Shannon and above Keeper Mountain and Mount Shannon, Lord 
Clare's. 

Sepia wash and pen. 

Purchased June, 1881. 



J. O'Connor. — J. E. Oldfield. — J. G. Oldmeadoiv. — I. Oliver. 145 

6. Corfe Castle. View looking across a hollow, to the great mound encircled by 
the castle walls and surmounted by the ruined keep standing against the 
yellow sunset sky ; in the foreground r. a road crosses the hollow and passes 
under the entrance gate ; at the 1. a man walking away along the bottom of the 
valley. Signed and dated /. A. O'Connor, 1830. 

Water colours ; imp. 14f x 20§ in. 

Purchased October, 1875. 



O'CONNOR, John (b. 1830, d. 1889). Painter : born in Co. London- 
derry ; from boyhood painted scenery for the Dublin theatre and 
elsewhere in Ireland ; came to London 1848, and worked at Drury 
Lane and the Haymarket ; exhibited architectural subjects in oil and 
water colours at Suffolk Street and the Royal Academy and other 
galleries, 1853-1888; but continued to paint scenery, especially for 
private theatricals. 

1. Borghese Fountain, Home. Near view of the marble fountain built in the 
yellow plastered wall. 

Water colours and body colours ; roy., 13J X 9£ in. 

2. Study op Aloes. 

Water colours and body colours; roy., 10 J x 14J in. 

3. St. Paul's from Waterloo Bridge. View from the river close under Waterloo 
Bridge ; one of the piers of which juts into the foreground r., with hay-boats at 
the wharves beyond, and St. Paul's in the distance 1. 

Sepia drawing in brush and pen ; roy,, 7£ X 12^ in. 
All presented by the artist's widow, December, 1893. 

OLDFIELD, J. Edwin (worked about 1825-1854). Painter; worked 
in London ; exhibited a few landscapes at the Royal Academy 
and elsewhere, 1825-54. 

1. Vilvorde, Belgium. A bridge over a canal, with houses and trees on either 
bank, and a church beyond the houses 1. against a stormy sky. 
Water colours ; roy., 4| x 0J in. 
Purchased July, 1878. 

OLDMEADOW, J. C. (worked about 1841-1849). Painter; worked at 
Bushey ; exhibited landscapes at the British Institution and Royal 
Academy, 1841-49. 

1. Hunton Bridge Railroad. View looking up a road to an archway under a 
railway embankment ; an inn with the sign of the Bel) r., and a cottage and 
tree 1. ; a man in a pony-cart on the road meeting a workman with a bundle. 

Sepia ; roy., 6| x 8 in. 

2. The Oak at Chenies Manor. An old gnarled oak in a park, with house 
behind it 1. Signed J. C. Oldmeadoiv from Nature. 

Pencil ; roy., 6J X 8£ in. 

Both presented by W. S. Goodwin, Esq., May, 1875. 



OLIVER, Isaac (b. about 1556, d. 1617). Miniature painter; probably 
of French origin; pupil of Nicholas Hilliard ; the best and most 
famous miniature painter of his time ; painted James I. and his 
family and most of the nobility of the time ; also painted some larger 
pictures in oil. 



vol. m. 



146 



Drawings of the British School. 



1. Two on one mount, roy., viz. : — 

(a) A Saint, after Parmigianino. A female figure seated facing to front, but 
looking 1.. with her 1. hand resting on a cushion and holding a book, and 
the other hand outstretched. 

Pen-and-ink and Indian-ink wash ; 4 X 3 in. 

(b) Diana, after Parmigianino. Diana seated, leaning her arms upon a 
bank r. and with head turned 1. ; her bow and quiver on the ground beside 
her. 

Pen-and-ink over red chalk, with Indian-ink wash ; 4J X 3£ in. 
Bequeathed by the Kev. C. M. Oracherode, 1799. 

2. The Penitence of Mary Magdalen. The saint, half reclining on a bank 
beneath a tree, looks up from skull, crucifix and book to a stream of light 
coming from the sky 1. ; at the 1. a demon taking flight. 

Pen and sepia ; roy., 7§ x 5 in. 
Bequeathed by R. Payne Knight, Esq., 1824. 

3. The Adoration of the Magi. The Virgin sits under a roofless shed at the 1., 
the Child on her lap and Joseph behind, while one of the Magi kneels 1. to offer 
his gift, the second stands r., and a third behind him ; three boy pages in the 
foreground wait upon the Kings, and a throng of followers with a camel appears 
behind. Signed Is. Ollivier. 

Neutral tint over pencil, highly finished ; roy., 9 X 6f in. 
Purchased July, 1855. 

4. Antiope. Antiope, naked and asleep, reclining on drapery with Cupid beside 

her, his head pillowed on his quiver ; at the 1., Jupiter disguised as a Satyr, 
half seen. Signed 7s. Ollivier. 

Black chalk with a little pen-work on brown paper, heightened with white ; 
roy., 7| X 11 in. 

Purchased June, 1869. 

5. Study of a Female Figure. A whole length female figure, holding an urn in 
one hand and resting the other on a table. 

Pen and sepia ; roy., 10J x 6f in. 

6. Two on one mount, roy., viz. : — 

(a) Study of a Lady. Whole length of a lady seated in a chair, with fore- 
finger lifted as if addressing a child. 

Pen and sepia ; 3g x 2§ in. 

(b) Study of a Lady. Whole length of a lady seated, turned to front, her arma 
folded and eyes looking down. 

Pen-and-ink ; 4| x 3 in. 

Nos. 5 and 6 were purchased August, 1874. 

7. Apollo and the Muses. Apollo, with a viol in his hand, seated on a knoll 
upon Parnassus with the Muses grouped around him, the nymph of the Castalian 
spring beneath, and the male and female divinities of two rivers r. and 1. 

Bed and black chalk ; imp., 9 x 23£ in. 
Bequeathed by Sir Hans Sloane, Bart., 1753. 



OLIVER, Peter (b. 1594, d. 1648). Miniature painter; eldest son of 
Isaac Oliver, whom he equalled in repute ; painted the Court and 
nobility of the reign of Charles I. and of the latter part of the 
preceding reign ; noted also for water-colour copies of famous pictures, 
and for his drawings. 

1, Studies of Heads. Bust in profile of a lady looking 1., with the profile of an 
old man half seen behind her, looking in the same direction ; more to 1. a man's 



Peter Oliver. — Hugh O'Neill. 



147 



head looking up 1. ; and below, the heads of a bearded old man and a boy- 
looking r. Signed P. '0. 

Pen and sepia, slightly washed in parts ; roy., 3J x 2g in. 

Bequeathed by R. Payue Knight, Esq., 1824. 

Attributed to Peter Oliver. 

Portrait of Sir Francis Crane. Bust in an oval, turned to front and r., tho 
face turned very slightly r. but looking full; pointed beard, lace collar, with 
the Garter round the neck. Inscribed S r Francisco Craen, Secret, del ord de 
S ( Gorge et m e de Tapisserij. 

Black and red chalk ; roy., 7 X 5J in. 

Engraved in Manning's ' Surrey,' Vol. xxi., as by Van Dyck. The drawing is, 
however, not in Van Dyck's manner, but in the manner of a miniature painter, 
and was attributed by W. H. Carpenter to Oliver. 

Sir Francis Crane, last lay Chancellor of the Order of the Garter, was 
secretary to Charles I. when Prince of Wales, and in 1619 became director of 
the tapestry works established at Mortlake under the patronage of James I. ; 
died in Paris 1636. 

Purchased March, 1849, at the -Stowe sale. Formerly in the possession of 
John Simco. 



O'NEILL, Hugh (b. 1784, d. 1824). Water-colour painter and archi- 
tectural draughtsman ; born in London ; son of an architect ; worked 
and taught at Oxford, afterwards at Bath, Edinburgh and Bristol, in 
which last town he died ; perhaps the ' H. Neil ' who exhibited at the 
Royal Academy 1800-1804. 

1. Great Tower of Oxford Castle, The tower with trees around it and old 

houses in front, past which water flows from under low arches 1. Signed 
Neill Ox/lord']. 
Water colours and Indian ink ; roy., 8| X 5 J in. 

2. High Bridge and Oxford Castle. View on the bank of a stream looking to 
the bridge with houses on the bank r. and the castle keep beyond; a man 
watering horses, and other figures on barges. Dated 1800. 

Sepia wash and pen ; roy., 5f x 8f in. 

3. Holywell Church, Oxford. Holywell church from the S.E. Dated 1804. 

Pen and sepia, with Indian ink and blue wash ; roy., 6| X 10 in. 

4. Saint Peter's in the East, Oxford. S. W. view of the church from Queen's 
Lane. Dated 1800. 

Pen and sepia, with Indian ink and blue wash ; roy., 6J x 5 in. 

5. The Kitchen at Stanton Harcourt, Oxfordshire. The exterior of the 
building, with trees behind it 1., and heaps of wood piled up agiinst the massive 
low tower at the near end ; some sheep on the road in front of the buildiug, and 
three figures under a great tree at the r. 

Pen and sepia, with Indian ink and sepia wash ; roy., 5f x 8| in. 

C. Cottage, Stream and Hill. A small stream coming into the foreground and 
spanned by a footbridge, with a cottage half hidden among trees beyond, and a 
mountain in the distance. 

Indian ink ; roy., Sg X 12^ in. 

7. Cottage and Trees. Cottage under a clump of trees, with a field in front. 

Indian ink; roy., 12J x 8£ in. 

8. Ruins of a Mansion. Ruins of the great hall of a house, with two square 
towers flanking the wall 1. and still complete. 

Indian ink ; roy., 8£ X 9| in. 

9. An Old Farm House. An old farm house with plaster and timber walls and 
manyTgabled roof. 

Indian ink and water-colour tint, unfinished ; roy., 8| x 9£ in. 
Nos. 1.-9 were purchased July, 1865, at the Bacon sale. 

l 2 



148 



Drawings of the British School. 



10. Gloucester. One of the old gates of the city at the further end of a bridge over 
the Severn ; through the archway appears a long street ; at tbe 1. of the gate, 
the cathedral; two men standing by a waggon on the bridge ; a man talking to 
a soldier lying by the parapet r. ; a boat on the beach r. below. Signed. Neil. 

Indian ink and water-colour tint; roy., 10| X 12$ in. 

11. Bridgenorth. A near view of the old bridge and toll house, and the town and 

church on the hillside 1. beyond ; a sailing boat moored by one of the further 
arches of the bridge ; a boy seated on the steps leading to the shore r. 

Indian ink and water-colour tint ; roy., 6J X 9| iu. 

Compare the great drawing by Girtin made from an almost identical spot, 
described in Vol. n., p. 230, No. 56. 

Nos. 10 and 11 were purchased November, 1866. 

12. Dudley Castle. A row of elms on a bank 1. ; at a little distance beyond, a 
gateway and round tower of the castle. Signed O'Neil and inscribed Dudley, 
Worcestershire. 

Pencil ; roy., 10 X 7J in. 

13. Hereford. The roofs and towers of Hereford, with the cathedral prominent 
among them, seen at some distance over wooded ground ; part of a heath in 
the foreground, and a bush r. 

Pencil ; roy., 5£ X 8 in. 

14. At Buthin, Denbighshire. The back of an old cottage, thatched and mossy, 

Signed O'Neil and inscribed Ruthin 1803. 
Pencil ; roy., 4 J x Q\ in. 
Nos. 12-14 were presented by J. DefTett Francis, Esq., February, 1877. 

15. Edinburgh. View looking down on the quarter of the city between Arthur's 
seat r. and the Calton Hill 1., with the Firth of Forth in the distance. Signed 
O'Neill. 

Pencil ; atl., 12 J X 27| in. 
Date of acquisition unknown. 

Attributed to O'Neill. 

Old Houses in Duke Street, Smithfield, 1797. 
Water colours and pen ; 5| x 8J in. 

No. 108 in Portfolio xxvi. of the Crace Collection of London Views, purchased 
November, 1880. 



ORSAY, Alfred Guillaume Gabriel Count d> (b. 1801, d. 1852). 
Painter and sculptor ; born in Paris, held a commission for some years 
in the French army; from 1831 to 1849 lived in London, becoming 
with Lady Blessington the centre of a brilliant section of the society 
of the time; from 1849 till death in France; best known by his 
portrait drawings of contemporaries. 

1. Portrait of the Duchesse de Gramont. Three-quarter length in profile 

turned 1. and looking 1. Inscribed 4 Oct. 1843. A. O. fecit. La Duchesse de 
Gramont. 

Pencil ; roy., 9$ x 7 in. 

Anne Quintina Albertine Ida, sister of D'Orsay, b. 1802, was married 1818 to 
the Due de Guiche, afterwards Due de Gramont, who died 1855. 

Purchased October, 1870. 

2. Louis Napoleon, as President of the French Bepublic, returning from 

the Chamber of Deiuties. View from above of an open space with the 
President's carriage coming from the r. preceded in the foreground by a 
cavalcade of officers, who are moving round to the r. Inscribed Le President 
revenant de la Chambre des Deputes. Paris 1851. 

Water-colour sketch, with touches of body colour; roy., 11 \ X 10| in. 

Purchased October, 1872. 



William Young Ottleij. 



149 



OTTLEY, William Young (b. 1771, d. 1836). Amateur draughtsman 
and writer on art ; born in Berkshire ; pupil of the elder Cuitt ; 
studied at the Royal Academy ; in Italy 1791-1801, studying and 
making the splendid collection of drawings afterwards sold to 
Lawrence ; made numerous drawings, but best known by his ' Origin 
and Early History of Engraving,' his fac-similes of early prints, and 
other works. 

1. Portrait Sketch of John Flaxman, R.A. Profile sketch of the sculptor 
standing and bent over a sloping desk with lamp above, and sketching. 

Indian ink ; roy., 3§ x 3 in. 

For Flaxman's biography, see in this Catalogue, Vol. n., under his name. 

Purchased May, 1885, at the Kussell sale. 

2. Angels of the Revelation. Three angels with trumpets, seated on clouds, 
one in front, two at the r., while other figures at the 1. lean from the clouds and 
look down on the storm- darkened earth. An illustration to Revelation viii. 13: 
' And I beheld and heard an augel flying through the midst of heaven, saying 
with a loud voice, Woe, woe, woe, to the inhabiters of the earth by reason of the 
other voices of the trumpet of the three angels which are yet to sound ! ' 

Sepia wash and pen; roy., 12$ x 9£ iu. 

S. ' Come unto these Yellow Sands.' A ring of elves and fairies dancing on 
the sands, by the light of a crescent moon. Inscribed Come unto these yellow 
sands | And then take hands \ Curtsied when you have and hist \ The wild waves 
v)hist | Foot it- featly here and there \ And, sweet sprites, the burden bear. 
Tempest, Act 1st. Signed and dated W. 0. Dec''' 1801. 
Iudian-ink wash and pen; roy., 10£ x 16| in. 

4. Scene from ' The Tempest.' The Magic Banquet. Spirits dancing round 
a table spread with a feast, while Alonso, Sebastian, Gonzalo and the rest look 
on in wonder r. Inscribed dance about it with gentle actions of salutation, and 
inviting the King, &c, to eat, they depart. Tempi-st, Act 3rd. 

Pencil and Indian-ink wash ; roy., 10§ x 16g in. 

5. Scene from * Midsummer Night's Dream,' Act il, Scene 2. Fairies dancing 
in a ring and others playing musical instruments in the air, while in the back- 
ground 1. Oberon stands over the sleeping Titania. 

Pencil partly washed over with pen-and-ink; roy., 11£ X 9^ in. 

6. Scene from Dante's Inferno. Spirits of lovers embraced and floating on the 

wind. 

Pen-and-ink and pencil ; roy., 11| x 9J in. 

7. Mother and Children. A mother seated with a baby on her lap, bending 1. to 

kiss another child sitting near; at the r. a man sitting in contemplation. 
Pencil ; roy., 9f X 13 in. 
Nos. 2-7 were purchased at the Du Roveray sale, March, 1850. 

8. Mother and Children. A mother seated and bending over her two children, 
one of whom leans over her knee to wake the other, who has fallen asleep with 
his head on her lap. 

Black chalk and pen-and-ink on brown paper, heightened with white ; roy., 
10£ X 10§ in. 

This drawing, long attributed to Flaxman, is undoubtedly by Ottley, as a 
comparison with the preceding drawing proves. 

Purchased July, 1885. 

9. Mother and Children. A mother sitting in a chair with three children 
climbing about her knees and pulling at loosened tresses of her hair ; at the 1. a 
woman looks back as she puts aside curtains to go away. 

Pencil; roy., 12J x 10J in. 

Purchased May, 1870. 



150 



Drawings of the British School. 



10. Ob. Death carrying off a Woman. Death floating through the air with a 

woman in his arms. 

Pen-and-ink ; roy., 3§ X 4§ in. 

Rev. The same Subject. A roughly sketched variation of the figures. 
Pen-and-ink. 

Presented by John Deffett Francis, Esq., February, 1875. 

11. Doddington Castle. Part of the castle walls and two round towers standing r. 
above a road down which a waggon moves between high wooded banks. 

Pen-and-ink ; roy., 7£ X 9£ in. 

Purchased May, 1876. 

12 Abradatas mounting his Chariot. Abradatas mounting his chariot r. while 
his wife Panthea 1., her train held up by a girl, addresses him in the midst of 
the Persian army, the spears and chariots of which fill the background ; at the 
1. a warrior raising himself from the ground. 
Indian-ink wash and pen; roy., 9| X llf in. 

Perhaps suggested by John Edwards' tragedy, 'Abradatas and Panthea' 
(1808), founded on a story in Xenophon's Cyropajdia, Book vi. 

13. Two on one mount, roy., viz. : — 

(a) Spirits carrying Baskets. A band of female figures floating through the 
air from r. to 1., bearing baskets of fruit and leaves. 
Monochrome wash and pen ; 6J X 7$ in. 

(6) Fame, Justice and Peace. Fame with wreath and palm, Justice with 
sword and scales, Peace with myrtle-branch and sceptre floating through 
the air from r. to 1. 
Sepia and Indian-ink wash and pen ; 5$ X 9J in. 

14. Warriors Charging to Battle. A warrior on horseback, attended by three on 

foot, rushing away iuto a battle 1. with arms and swords uplifted. 
Indian-ink wash and pen ; roy., 6£ x 8£ in. 
Nos. 12-14 were purchased November, 1885. 

15. The Mother. A mother, in classical garments, seated with folded arms on the 

end of a bed, on which her baby lies asleep in a cradle ; a girl at the r. bends 
over to lift the covering from the cradle, another 1. kneels by the bed and gazes 
at the baby. 
Pencil, with some sepia wash and pen-work ; imp., 14 X 17£ in. 

Purchased October, 1872. 

Attributed to W. Y. Ottley. 

Storming a Town. Warriors with swords rushing from the 1. on the defenders 
of a gateway, who strive to repel them with spears ; in the 1. background others 
are scaling a wall. 

Sepia wash and pen, heightened with white ; imp., 15£ X 22J in. 

Formerly attributed to James Barry, but almost certainly the work of Ottley. 

Purchased May, 1870. 



OWEN, Sir Richard (b. 1804, d. 1892). Naturalist and draughtsman; 
born at Lancaster ; successively conservator of the Hunterian 
Museum, and superintendent of the Natural History departments 
of the British Museum ; famous as the first anatomist of his day ; 
made a large number of drawings, chiefly anatomical. 

1. Portrait of Eobert Hills. Head and bust in profile looking 1. Inscribed 
Bob 1 - Hills Esqre an excellent likeness. Sketched one evening by Richard Owen in 
April 1835. First Secy, to the Society of Painters in Water Colours. 

Pencil; roy., 13| x 10J in. 

Hills was sixty-seven when this portrait was sketched. For his biography 
see under his name. 

Presented by the executors of Sir Kichard Owen, K.C.B., August, 1893. 



Samuel Owen. — William Owen. — James Paine. 



151 



OWEN, Samuel (b. about 1769, d. 1857). Water-colour painter; of 
unknown origin; exhibited at the Royal Academy, 1794-1807, and 
with the Associated Artists in water colours, 1808—1810 ; well known 
for his marine subjects, and for the series of drawings engraved by 
W. B. Cooke in "The Thames" (1811); died at Sunbury, having 
long ceased to practise before his death. 

1. A Calm on the English Coast. A fishing smack beached on the shore r. near 
a mass of rock ; two sailors standing by the water 1. and a small boat moored to 
a breakwater ; beyond on the calm sea is a cluster of fishing boats with men 
busy on board ; in the distance appear the cliffs of the coast r., and scattered 
sails in the offing. 

Water colours ; roy., 9£ x 13J in. 

Purchased August, 1868, at the Hippisley sale. 

2. Shipping in a Boadstead. A man-of-war, flying the red ensign, approaching 
under sail at the 1., with a small boat crossing her bows and a cutter tacking to 
the r. just astern of her ; in the foreground r. a boat's crew rowing towards the 
ship ; scattered sails in the offing, among them another battleship ; and 1. a 
brig partly seen behind the approaching man-of-war. Signed S. Owen. 

Water colours ; roy., 11 J X 8^ in. 
Purchased March, 1868. 

3. Loading Boats in an Estuary. Hazy morning on the still waters of an 

estuary, with a beach in the 1. foreground, and low hills on the further shore. 
Four small beats are gathered round a Dutch fishing boat, and their crews are 
busy hoisting barrels and stones into her ; a little further off r. is another Dutch 
vessel, and in the 1. foreground are fishermen busy near stranded boats, anchors, 
cables, stakes and baskets ; further along the shore 1. are vessels moored by 
a breakwater, and a windmill behind. Signed and dated S. Owen 1809. 

Water colours ; ant., 23§ x 34 in. 

Purchased February, 1872. 

OWEN, William, R.A. (b. 1769, d. 1825). Painter; born at Ludlow; 
pupil of Charles Cotton, R.A. ; student at the Royal Academy ; 
painted portraits and occasionally also rustic and fancy subjects ; 
elected A.R.A. 1804, R.A. 1806 ; portrait painter to the Prince of 
Wales. 

1. View of Ludlow. View of Ludlow from across the Tem°, which flows over a 
weir into a backwater in the 1. foreground where a man is sitting by the water's 
edge ; at the r. a man is giving directions to a carpenter, under the end wall of 
a building; beyond the river appear the roofs and church tower of Ludlow. 
Signed and dated W m - Owen delt. 1792. 

Sepia, Indian-ink and indigo, with pen outlines; imp., 12g X 17| in. 

2. A Forest Pool. A pool overhung on the further side by thickly branching 

trees ; on the near bank a youth sits fishing with a basket by his side ; some 
sheep on a path beyond the trees at the 1. 
Oil sketch ; imp., 13 X 18 in. 

Both bequeathed by K. Payne Knight, Esq., 1824. 



PAINE, James (d. about 1829). Architect and draughtsman; only son 
of James Paine the elder ; worked in London, then for some years in 
Italy ; afterwards again in London ; exhibited drawings of landscape 
and architecture 1761-1788. 

1. Transverse Section of the Temple of Peace, Bome. Drawn to scale of 
'feet of Paris ' and 'feet of London.' Signed and dated ./. Paine delt. 1774, and 
inscribed Transverse Section of the Temple of Peace, offer'dfor the acceptance of 
the Trustees of the British Museum, by the Author. 1816. 
Indian ink and water-colour tint, with pen outlines; imp., 11 J X 20£ in. 



152 



Drawings of the British School. 



2. Longitudinal Section of the same Temple. With two men working in the 

interior of the building. Signed and dated /. Paine Archt. 1774, and inscribed 
Longitudinal Section, Temple of Peace, Pome, human figures scale 5 feet, offered 
for the acceptance, etc. 

Indian ink and water-colour tint, with pen outlines ; imp., lOf X 7§ in. 

3. View of the Colosseum. View looking down a street curving between garden 
walls, with the Colosseum rising beyond the buildings at the end of the street, 
the evening light coming through the arches and windows from the 1. Signed 
and dated /. Paine Archt 1774, and inscribed The Amphitheatre of Vespasian at 
Pome as Viewed in the approach from the Arch of Titus 1774. Seen at the effect 
of Sunset. Offered for the acceptance, etc. 

Indian ink and water-colour tint, with pen outlines ; imp., 16§ X 20$ in. 

4. ' Eaphael's House,' Kome. The front elevation. Signed and dated J. Paine, 
Pome 1774 delt from Mensuration. Inscribed Situated near the ci-devant 
Pantheon. Baffaello Sanzio Archt, etc. 

Indian-ink wash and pen ; imp., 17| X 23J in. 

5. Design fob Kew Bridge. View of the bridge from the middle of the river ; at 
each end are triumphal arches, and the two centre lamp-posts are formed by 
naval pillars. Signed J. Paine, Jun r Arch 1 inv 1 and del', etc. Inscribed on 
the back N.B. The Bridge constructed across the River Thames from the shores of 
Midd* to Kew in Surrey A.D. 1793. To which Fabrick (of plain masonry) are in 
this drawing introduced some general ideas for the additions of decorative Sculp- 
tures. With other appendages appropriate to the approaches of a Regal Villa and 
National affluence, united with public utility. 

Indian-ink with water colour and pen outlines ; atl., 18 X 51 in. 
Nos. 1-5 were presented by the artist, 1816. 

6. Design for Kew Bridge. View of the same bridge from under the arch of 
another bridge. Dated and signed 1793 J s - Paine Jun r inv 1 et Pinxit, and 
inscribed Kew Bridge; erected by-Mis r ' J. Paine Archt: the additional Orna- 
mental Buildings, to the approaches, with other decorations adapted to Magnificence ; 
Embankment, etc., designed and drawn by James Paine Jun r ~ ; intended for 
Publication before the Plates were destroy d by Fire at the Printers 1793 before the 
PuWica[tion], 

Indiau ink and water colours, with pen outlines ; atl., 15£ X 24£ in. 
Purchased November, 1876. 

7. View of London, from Hampstead Hill, 1798. 

Water colours; 11£ x 16f in. 

No. 81 in Portfolio xxxvi. of the Crace Collection of London Views. 

Purchased November, 1880. 

PAPWORTH, John Buonarotti (b. 1775, d. 1847). Architect and 
draughtsman ; son of John Papworth ; pupil of J. Plaw ; well known 
as architect of St. Bride's Avenue and other works in London, of 
numerous country houses, and of many buildings at Cheltenham, as a 
landscape gardener and as a designer of ornaments, furniture, plate, 
etc. ; member and secretary of the Associated Artists in Water 
Colours; exhibited at the Royal Academy, 1794-1841. 

1. State Galleys. A cluster of state galleys partly seen and moored to a quay ; 

a rich embroidered flag floating on the poop of one of them at the 1. ; sails of 
other craft beyond, and dimly seen buildings. 
Water colours ; roy., 5£ x 3£ in. 

2. An Oyster Stall, Calais Harbour. A group of fishermen and women 
standing or sitting on the quay round a table supported on barrels and heaped 
with oysters ; one of the women stands in profile at the r., basket on back ; 
another with a baby sits on a basket 1. ; two of the men are eating oysters, the 
third stands behind ; bales heaped on the quay r. near the sails of some boats 
in the harbour which appears beyond. Signed on the sails /. B. P. Inscribed 
Des Huitres, Calais Harbour. 

Sepia wash and pen ; roy., 6| x 8£ in. 
Both purchased October, 1877. 



D. P. Pariset. — Thomas Parkinson. 



153 



PARISET, D. P. (b. 1740, ). Engraver; born at Lyons; pupil of 

Demarteau ; came to England 1769, and etched for Ryland and 
Bartolozzi ; best known by a series of portraits of English artists 
after Falconet, and by prints after drawings by old masters. 

1. Portrait of Benjamin Ibbot. Head in profile, turned 1. and looking 1., on a 
circular medallion. 

Black and red chalk ; roy., 12f X 8f in. 
Engraved in stipple by the artist, 1774. 

Benjamin Ibbot, well known in his day as a collector, b. 1709, d. 1787. 
Purchased May, 1859, at the Dawson Turner sale. 



PARKINSON, Thomas (worked about 1769-1789). Portrait painter; 
exhibited portraits with the Free Society and the Royal Academy, 
1769-1789, but is best known as a painter of theatrical figures and 
groups. 

1. Mr. Baddelbt as Trinculo in 'The Tempest.' Whole length, moving to 
the 1., wringing his coat tail in his hand, and crying, ' Ay, but to lose our 
bottles in the pool ' (Act iv. sc. 1). 

Indian ink and water-colour tint ; 4J X 3J in. 

Engraved by an anonymous artist. 

Bobert Baddeley, b. 1733, originally a valet, played low comedy parts, 
especially foreign footmen, at Drury Lane ; the original Moses in the ' School 
for Scandal'; husband of Sophia Baddeley, well known as an actress, and 
better known for her beauty, extravagance and loose life ; d. 1794. 

No. 105 in Vol. i. of the Burney Collection of Theatrical Portraits, purchased 
1817. 

2. Mr. Dunstall as Dromio in the ' Comedy of Errors.' Whole length, look- 
ing 1., and holding out a rope in his hand. 

Indian ink and water-colour tint ; 4J X 3J in. 

Engraved by C. Grignion. 

No. 135 in Vol. in. of the Burney Collection. 

3. Mb. Hull as Pisanio in ' Cymbeline.' Whole length, reading a paper which 

he holds in one band. ' How that I should murder her.' (Act iv. sc. 4.) 

Indian ink and water-colour tint ; 4 x 2§ in. 

Engraved by C. Grignion for Bell's Shakespeare, 1775. 

Thomas Hull, actor and dramatist, b. 1728, performed secondary parts at 
Covent Garden for 48 years ; d. 1808. 

No. 8 in Vol. v. of the Burney Collection. 

4. Mr. Macklin as Shylock in the 'Merchant of Venice.' Whole length, 

holding the knife and scales. 'Most learned Judge! A sentence; come, 
prepare.' (Act iv. sc. 1.) 

Indian ink ; 4J X 3 in. 

Engraved by C. Grignion for Bell's Shakespeare. 

Charles Macklin, b. about 1697, in Ireland, had a long career as an actor, 
playing numberless parts, chiefly comic, but famous above all for his great 
performance of Shylock; author of several plays, of which the 'Man of the 
World ' was the best ; notorious for his quarrels ; retired from the stage 1789 ; 
d. 1797. 

No. 41 in Vol. vi. of the Burney Collection. 

5. Mr. Eeddish as Edgar in ' Lear.' In a tattered coat, holding up a club and 
saying ' There could I have him now, and there, and here again, and there.' 
(Act in. sc. 3.) 

Indian ink and water-colour tint ; 5 X 3| in. 
Engraved by C. Grignion for Bell's Shakespeare. 



154 



Drawings of the British School. 



Samuel Eeddish, b. 1735 at Frome, first obtained a name as an actor iu 
Dublin, and afterwards played important parts at Drury Lane and Covent 
Garden, but in 1779 lost his memory and then his reason ; d. 1785. 

No. 172 in Vol. vn. of the Burney Collection. 

6. Me. Shuter as Falstaff in the 2nd Part of Henry IV. Whole length, 
addressing Henry V., ' My King ! my Jove ! I speak to thee, my heart 1 ' 
Indian ink and water-colour tint ; 5 x 3$ in. 
Engraved by an anonymous artist for Bell's Shakespeare. 
Edward Shuter, b. about 1728, was well known in his day for his large range 
of comic parts, in some of which he was unsurpassed ; d. 1776. 

No. 112 in Vol. vn. of the Burney Collection. 



PARS, William, A.R.A. (b. 1742, d. 1782). Painter; born in London; 
studied at the St. Martin's Lane Academy ; member of the Free 
Society of Artists; worked in Greece 1764-66, as draughtsman for 
the Dilettanti Society ; afterwards in Switzerland and Italy ; elected 
A.R.A. 1770, and exhibited at the Royal Academy, chiefly portraits, 
1769-1776 ; died at Rome. 



[1-4] Drawings made in Athens, 1765, and published in the 2nd and 3rd volumes of 
Stuart and Revett's ' Antiquities of Athens.' Stuart and Eevett were at Athens 
in 1752. The first volume of this work was published ten years later, and had 
an extraordinary effect on the taste of the period in art and architecture, being 
a starting point for the serious study of classical antiquities throughout Europe. 
Stuart died in 1788. His second volume appeared in 1789, the third in 1795 ; 
and for these Pars' drawings, made in the interval between the first and second 
volume, were utilized. 

1. East Fkont of the Parthenon. The East front of the Parthenon, with its 
broken pediment ; between the j>illars appears the Turkish mosque built within 
the temple (since destroyed); in the foreground, a narrow street leads past the 
r. side of the temple between some low buildings r. aud a garden enclosed by 
high walls 1. ; in the garden are three ladies, one of them plucking lemons. 
Signed Pars. 

Water colours, unfinished; imp., 14£ x 21 f in. 

Engraved with modifications in Stuart and Revett's ' Antiquities of Athens,' 
Vol. ii., ch. i., pi. 1 (1787). 

2. The Erectheum from the N.E. View on the summit of the Acropolis, with 

the Erectheum and part of the Parthenon 1.; on the bastion which crowns the 
precipice at the r. three Turkish soldiers are smoking and talking with two 
children, while an old Turk in the foreground is carving a marble fragment. 
Beneath the precipice lies out part of Athens, with the Temple of Theseus 
outside it. Inscribed with names of places. 

Water colours, unfinished; imp., 12J x 21| in. 

Engraved by S. Smith in 'Antiquities of Athens,' Vol. n., ch. n., pi. 1. 

3. The Propyl/ea from the S.E. A view of the Propylaja, converted into a 

bastion by the Turks ; at the 1. a path leads up to the foreground where three 
Turkish soldiers are grouped by the wall listening to two men squatting on the 
ground and playing pipe and tambourine ; at the r. above a glacis appears the 
wall of a battery built between the six pillars of the central portico of the 
Propylaea, and flanked at the near end by a mediaeval tower, at the further end 
by a similar tower built on the remains of the Temple of the Wingless Victory. 
At the 1. a view over the town below, and the plain and mountains beyond. 

Water colours with pen outlines ; imp., 12f X 17§ in. 

Engraved by James Newton in * Antiquities of Athens,' Vol. n., ch. v., pi. 1 ; 
aud in aquatint by Paul Sandby, 1780. 



William Pars. 



155 



4. View of the Ackopolis and the Temple of Jupiteb Olympius. A distant 
view of the Acropolis, with the remaining columns of the vast Roman Temple of 
Jupiter towards the r. ; along the foreground flows the Ilissus, and on the near 
bank is a group of Turkish women, some dancing, others looking on, and one 
carrying a pitcher on her head ; at the r. is part of the wall of an Ionic temple, 
since destroyed. The sky and the 1. foreground are unfinished. 

Water colours and body colours; imp., 15f x 23J in. 

Engraved by T. Medland (with additions) in ' Antiquities of Athens,' Vol. u., 
pl.l. 

[5-12] Drawings made for the Society of Dilettanti, 17G4-66, and published in ' Ionian 
Antiquities,' Part I., 1769 ; Part II., 1797. 

5. Two on one mount, imp., viz. : — 

(a) Ruins of the Temple of Bacchus at Teos. Fragments of fluted columns, 
capitals and cornices lyiug in disorder among mounds and shrubs ; at the 
r. two Turks carving pieces of marble into tombstones ; at the 1., further 
off, two boys on a mound. 

Water colours ; 4£ X 8J in. 

Engraved by J. P. Lebas in ' Ionian Antiquities,' Vol. I., headpiece to 
ch. i. 

(b) Fragment from the Temple of Apollo Didym^jus near Miletus. 

Fragment of a capital on the heap of ruins at the N.W. angle of the 
Temple, ornamented with a winged female figure in low relief, terminating 
in acanthus foliage and scroll work. The fragment lies among bushes and 
shrubs, with two sheep on the grass 1., and a half-buried block r. inscribed 
ArAOH TYXH AnOAAQNOC AlAYOQEnC 

Water colours ; 5J x 8J in. 

Engraved by Sherlock and Mason in ' Ionian Antiquities,' Vol. I., head- 
piece to ch. in. 

6. Two on one mount, imp., viz. : — 



(a) Capital from the Temple of Athene Polias at Priene. 
angular capital, lying among bushes and trees. 
Water colours : 51 X 8 in. 



A mutilated 



Engraved by Mason in ' Ionian Antiquities,' Vol. i., headpiece to ch. n. 

(6) Capital from the same Temple ; with the Valley of the Meander. A 
fallen capital lying on the edge of the hill among flowering plants ; beneath, 
a wide prospect of empty plain with the Meander winding through it. In 
a circle, surrounded with a wreath. 
Water colours ; 7f X 7£ in. 

Engraved by T. White in 'Ionian Antiquities,' Vol. i., tailpiece to ch. in. 

7. Ruins of the Temple of Athene Polias at Priene. A confused heap of 
marble fragments, strewn on a platform of level ground on the side of Mount 
Mycale, which rises in a rocky face at the 1., while at the r. below spreads the 
plain of Miletus, with a mountain beyond ; at the edge of the platform in the r. 
foreground are two Turks, one lying down ; further off are two more, near a 
bush. 

Water colours with some body colours ; imp., llf X 18f in. 

Engraved by G. Sherlock in ' Ionian Antiquities,' Vol. i., ch. il, pi. 1. 

8. Capitals of Pilasters from the Temple of Apollo Didym^eus near 
Miletus. The broken-off capitals of pilasters, one seen in a front view and 
resting on the other, •which shows a side view and lies obliquely on a bank over- 
grown with weeds and shrubs. On the top of the upper fragment are two 
Turks, one reclining, the other seated and smoking a pipe. At the 1. a glimpse 
of landscape with two camels and a Turk with baggage. 

Water colours with some body colours; imp., 7J X 8| in. 

Engraved by Woollett and Basire in 'Ionian Antiquities,' Vol. I., tailpiece to 
ch. in. 



156 



Drawings of the British School. 



9. Kuins op the Temple of Apollo Didymjeus from the N.E. Two fluted 
Ionic columns, supporting an architrave, standing towards the 1., with an 
immense mass of marble blocks aud fragments heaped behind them, partly 
overgrown with bushes; a single column appears 1. beyond; in the foreground 
is a Turk praying on a carpet, a boy standing behind him, and a herd of goats 
feeding near ; four other Turks are visible at different points among the 
scattered ruins and bushes, and one of the English party (presumably Revett) is 
measuring a stone between the two pillars ; a cloudy sky. 

Water colours, body colours, and pen outlines ; imp., llf X 18 J in. 

Engraved by John Miller in ' Ionian Antiquities,' Vol. I., ch. in., pi. 12; and 
in aquatint by Paul Sandby, 1779. 

10. Ruins of the Temple of Apollo Didym^us; another view. Masses of 
marble fragments strewn among bushes, behind which towards the r. rise the 
three pillars described in the last drawing ; at the 1. a ruined wall and the bases 
of broken columns ; in the foreground a boy driving a laden donkey towards 
the r. 

Water colours with pen outlines; imp., 11 J X 18f in. 

EDgraved by Byrne in ' Ionian Antiquities,' Vol. i., ch. in., pi. 2*. 

11. Temple of Iakli (Euromos), formerly identified as Labranda. Ruins of 
a temple of the Corinthian order standing among dense thickets towards the 1. ; 
the ground slopes gently r. to a plain enclosed by distant mountains ; on the 
slope are two Turks seated by a fire, their horses tethered near. 

Water colours with pen outlines; imp., llf X 18£ in. 

Engraved by W. Byrne in ' Ionian Antiquities,' Vol. i., ch. iv., pi. 1 ; and in 
aquatint by Paul Sandby, 1779. 

12. Ruin near the Port op ^Egina. Two Doric columns, supporting an archi- 
trave, standing in the 1. foreground on the flat sea shore ; beyond them, at the 1., 
the sandy beach shows the traces of the ancient port and arsenal ; across the 
bay appear the rocky coasts of Trcezen and of Poros. In the centre foreground 
two old shepherds lie on the shore with a dog beside them, and a boy with a dog 
stands between the two pillars 1. 

Water colours; imp., 11£ x 19£ in. 

Engraved by Byrne in ' Ionian Antiquities,' Vol. n., pi. 1 ; and in aquatint by 
Paul Sandby, 1777. 

13. Temple of Athene at Suntum. View of the ruined temple standing 1. on the 
highest part of the cliff, which slopes down to the foreground scattered with 
heaped fragments of marble lying among the low thickets; beyond at the r. the 
culm sea and small rocky islands and the distant coast of Argolis. 

Water colours with pen outlines ; imp., 9^ x 18§ in. 

Engraved by Byrne in ' Ionian Antiquities,' Vol. n., pi. 9 ; and in aquatint by 
Paul Sandby, 1779. 

14. Temple of Nemean Zeus, between Argos and Corinth. Three Doric 
columns, two of them joined by an architrave, rising r. among a confused heap 
of fragments of columns and blocks of marble strewn along the grass near the 
foreground ; in the centre of the ruins a small tree (a wild pear, according to 
Wordsworth's description), under which are three peasants with two goats, 
others are visible near the columns and among the prostrate fragments 1. ; in the 
1. foreground a youth leads a horse and a man walks beside it; the distance is 
open and level, except for a flat-topped hill ending a low range r. 

Water colours with pen outlines ; imp., 10£ x 18 in. 

Engraved by Byrne in ' Ionian Antiquities,' Vol. il, pi. 15. 

15. View of the Theatre at Mtletus. View of the ruined theatre, and mountain 

behind, on the further bank of a broad stream which the travellers (Chandler, 
Revett and Pars) are crossing by a horse ferry from the 1. ; one has already 
embarked and stands beside his horse ; the second, still on horseback, is about 



William Pars. 



157 



to step on the punt, accompanied by a Turk ; other Turks mounted and on foot 
escort the third traveller, and a boy pulls his refractory horse by the bridle; the 
ferrvman stands on the punt with a paddle iu his hand. 

Water colours; imp., llf X 18J in. 

Engraved by Newton, with the omission of the figures, and much reduced, in 
' Antiquities of Ionia,' Vol. n., pi. 43. Engraved in aquatint by Paul Sandby. 

16. Arch at Mylasa. A marble arch of the Corinthian order with the ruined walls 
of a stone building adjoining it 1., the lower part of them hidden by the heaped- 
up earth ; through the arch appears a wall with a cistern built into it and trees 
behind; a boy with a pitcher stands beyond the arch, and a man (Revett 
presumably) is measuring the cornice at the top of it, having ascended by a 
ladder, which leans against the building at the 1. ; through one of the window 
spaces is a glimpse of a boy leading a camel. 

"Water colours with pen outlines; imp., llf X 18£ in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 22 ; and in aquatint 
by Paul Sandby, 1780. 

17. Sepulchral Monument at Mylasa. The monument, composed of fluted 
Corinthian pillars supporting a roof and resting on a hollow base, into which a 
door opens, stands at the r. on a hillside ; in the valley below, 1., is a village, 
and a range of distant mountains closes the plain beyond. Three natives and 
a traveller are grouped at the foot of the monument 1., and a boy has climbed by 
a ladder to the upper part of it. 

Water colours with pen outlines ; imp., llf X 18 J in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 24 ; and in aquatint 
by Paul Sandby, 1777. 

18. Remains at Heracleia, under Latmus, on the Lake of Baffi. Ruins 

scattered amongst trees and thickets along the lowest slopes of the mountain, 
and reflected in the still water of the lake which fills the foreground ; at the r. 
a mediaeval castle, also close upon the shore ; in the 1. foreground a boat by a 
jutting bank of earth, with a Turk seated smoking and an old man standing up 
with a fishing spear in his hands. 

Water colours with pen outlines; imp., llf X 18| in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 33. Described in 
the book as the Remains of Myus, with which place, not Heracleia, the site 
was formerly identified. 

19. Ruins of the Gymnasium at Ephesus. A wall of solid masonry pierced with 
two broken arches, and supporting the remains of a superstructure of red sand- 
stone, standing towards the 1., with fragments of Bimilar arches of masonry 
towards the r. At the 1. the three travellers sit resting under a tent, while 
their Turkish attendants are grouped by a fire cooking, and a mounted Turk 
rides up to them from the r. The view is bounded by hills. 

Water colours with pen outlines; imp., llf X 18g in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 39 ; and in aquatint 
by Paul Sandby, 1779. 

20. View of the Stadium at Laodicea. View from one end of the stadium, 
looking down the hollow of the hill, in which its broken tiers of stone seats are 
built on either side; on the ridge above the stadium, 1., is a drove of camels, 
and nearer, a shepherd with his flock : and a group of Turks, some with guns in 
their hands, sit on the edge of the hill in the foreground : mountains rise on the 
r. horizon. 

Water colours with pen outlines; imp., llf X 18f in. 
Engraved by Newton in ' Antiquities of Ionia,' Vol. n.. pi. 48. 

21. Gymnasium at Troas; Exterior. A massive triple archway of masonry, 

mutilated at the top, and partly hidden by dense trees and thicket, and heaps 
of fallen stones in front of it ; in the foreground a group of Turks resting and 
making coffee. 

Water colours with pen outlines ; imp., llf X 20 in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 52 ; and in aquatint 
by Paul Sandby, 1777. 



158 



Drawings of the British School. 



22. Gymnasium at Troas ; Interior. Interior of the ruin, the lower part of the 
arches and masonry hidden by the irregularly mounded earth ; at the 1. the 
triple archway, with earth and shrubs above it ; two Turks seated on the rocks 
in the foreground. 

Water colours with pen outlines ; imp., 11£ X 20 in. 

Engraved by Byrne in ' Antiquities of Ionia,' Vol. n., pi. 53 ; and in aquatint 
by Paul Sandby. 

23. The Castalian Spring. A fissure between two towering crags, opening out 
into the foreground, where among the loose stones of a dry torrent bed oozes up 
the Castalian spring ; above the spring, in the cliff face r., is the little chapel 
of St. John, half hidden by a plane tree, believed by some to be the tree famous 
in antiquity as said to have been planted by Agamemnon. At the 1. are two 
Greeks and a woman with a pitcher ; a man leading a horse appears from the 1. 

Water colours, with some pen-work and body colours on the figures ; imp., 
16$ X 12£ in. 

24. The Cave of Archidamus on Hymettus. Interior of the cave looking towards 
the entrance, which is from above ; in the foreground r. is a mutilated stone 
effigy, seated ; scattered around are fragments of heavy stones, one of them 
inscribed with the name of Archidamus ; propped against the entrance is a tree 
trunk by which a native is ascending to the daylight. 

Water colours with pen outlines ; imp., 12 x 20$ in. 
Engraved in aquatint by Paul Sandby. 

Nos. 1-24 were presented by the Dilettanti Society before 1837. 
[25-34] Views in Switzerland. 

25. Lower Part of the Valley of Chamouny. View from an upland looking down 

on the valley of the Arve, flowing down from the 1., to the snowy peaks, glaciers, 
and pine-covered sides of Mont Blanc ; in the foreground a girl with a basket 
on her head moving along a path to a chalet, the roof of which appears above 
the slope ; two cows 1. 

Water colours, with some pen-work; imp., 13 X 19 in. 

Engraved by W. Woollett. 

26. The Mer de Glace, Chamouny. View on the margin of the Mer de Glace, 
beyond which 1. rises a mass of jagged aiguilles ; towards the r. the glacier flows 
through a chasm, disclosing further aiguilles with clouds wreathed about them; 
in the foreground are two peasants by the edge of the glacier. Signed Pars. 
delin 1 and inscribed The original drawing engraved by W. Woollett. 

Indian ink with water-colour tint ; imp., 13§ x 19$ in. 

27. The same Subject ; a more finished drawing. In this version, prepared for 
the engraver, the details are emphasized, the pine trees in the r. foreground are 
brought nearer the edge of the paper, and a peasant and some goats are intro- 
duced on the boulders at the brink of the glacier. 

Water colours and body colours ; imp., 13 X 19| in. 
Engraved by Woollett. 

28. Part of the Valley of Chamouny. View from the mountain side looking 
down on the Arveiron, which flows down from the glacier at the head of the 
valley, between two peaks of the Mont Blanc range ; in the foreground a 
shepherdess talking to a boy seated on the ground, and at the 1. a man and boy 
under two pine trees, with two sheep and a goat. 

Water colours and Indian ink, with some pen-work; imp., 13J x 19J in. 

29. The Devil's Bridge, in the Canton of Uri. The foaming torrent of the 
Keu8S, in the St. Gothard Pass, spanned by the slender bridge at the 1., over 
which some peasants are leading a horse, while a man drives his oxen along the 
road towards the r., followed by his wife and child, and three other figures with 
a pack horse are passing round the bend of the road where it disappears round 
the craggy mountain side. 

Water colour and Indian ink, with some pen-work ; imp., 13$ X 19$ in. 
Engraved by Woollett. 

30. The Valley of Lauterbrunnen, and the Staubbach. View looking along 
the narrow valley, with high pasture slopes and woods beneath towering cliffs 
r., from which three cascades leap, the nearest and most magnificent being the 



William Pars. — John Partridge. 



159 



Staubbach ; in the foreground 1. an old man going along a road, with the 
church tower and roofs of Lauterbrunnen among the trees below 1., and cows in 
the pasture r. 

Water colours and Indian ink, with some pen-work ; imp., 13J x 19£ in. 

Engraved by Woollett. 

31. Valley and Glaciers of Grindelwald. View from the village of Grindel- 

wald looking to the lower glacier which comes down over the neck between the 
Mettenberg 1. and a spur of the Eiger r. ; in the space between appears the 
distant snowy mass of the Finsteraarhorn ; the upper glacier is partly seen at 
the 1. between the Mettenberg and the Wetterhora. In the foreground r. a girl 
with a flock of sheep, by a path leading to a group of chalets ; other chalets are 
scattered among trees on the undulating pastures, and a number of men (omitted 
in the engraving) are busy in a field at the 1. 

Water colours and Iudian ink ; imp., 13 X 19£ in. 

Engraved by Woollett. 

32. The Glacier of Grindelwald. A bare valley, crossed by the glacier from 1. 
to r. close to the foreground, where the jagged ice is bordered by a grassy slope 
with a single pine at the edge and bushes r. ; two peasants 1., one seated, the 
other standing and looking down on the glacier. 

Water colours and Indian ink; imp., 12| x 19£ in. 

33. The Rhone Glacier and the Source of the Rhone. View of Mont Furca, 

with the Rhone glacier heaped on its shoulder 1. and spreading in a mounded 
mass to the r. ; from a blue vault in the ice the stream issues and rushes down 
the slope to the valley r. ; trees and grass in the foreground, and huge boulders, 
on one of which, at the 1., three travellers are resting. 

Water colours and Indian ink, with some pen-work ; imp., 13 x 19J in. 

34. Bridge near Mont Grimsel. A slender bridge of one arch spanning a torrent 
which foams down into the centre foreground between steep and rocky slopes ; 
two men with horses, followed by two men with a cow, are crossing the bridge ; 
beyond, the road is seen winding along the mountain side, above which rises the 
snowy mass of Mont Grimsel. 

Water colours and Indian ink, with some pen-work ; imp., 13J x 19J in. 

35. Portrait of Miss Croney of Killarnev. Full half-length of a young lady, 
seated facing to front, the head inclined a little r., eyes looking full, hands on 
lap with fingers touching. 

Indian ink with water-colour tint ; imp., I4J X 10J in. 

Nos. 25-35 were purchased May, 1870, with the exception of No. 26, 
purchased 1868. 



PARTRIDGE, John (b. 1790, d. 1872). Portrait painter; born at 
Glasgow ; pupil of T. Phillips, R.A. ; in France and Italy from about 
1823 to 1827; became fashionable as a portrait painter, being 
employed by the Queen and Prince Consort ; exhibited at the Royal 
Academy (till 1846) and at the British Institution, sending a few- 
subject pictures as well as portraits ; worked in London. 

1. Portrait of Sir John Login. Head in full face, looking slightly r. 

Black, white and red chalk on brown paper (cut at the top corners) ; imp., 
15f X 11J in. 

Sir John Spencer Login, b. 1809, graduated M.D. of Edinburgh ; entered the 
service of the East India Company as surgeon, 1832 ; held various important 
posts in India ; guardian of the Maharajah Duleep Singh ; knighted 1854 ; d. 
1863. 

Purchased January, 1878. 



160 



Drawings of the British School. 



PATCH, Thomas (d. 1782). Painter and engraver; studied art in 
London ; went young to Italy with R. Dalton and worked in Rome 
from before 1750 to 1753, when he removed to Florence, where he 
resided till death ; published works on Masaccio, Fra Bartolommeo, 
and Ghiberti, with etchings by himself, notable for their appreciation 
of early Florentine art ; painted caricatures, conversation pieces and 
landscapes. 

1. Poetrait of a Lady. Head and shoulders of a lady of middle age, in profile 

looking 1. ; low dress and ribbon round neck. 
Black chalk ; roy., 7 J X 5J in. 

2. Portrait op a Gentleman. Head and bust in full face, eyes looking slightly 

r. ; wearing wig. In an oval. 
Eed chalk ; roy., 6£ x 4£ in. 

3. Portrait of a Gentleman. Head and bust of a gentleman, resembling in 
features the portrait last described, but younger ; in full face, looking slightly 
r. ; wearing wig. In an oval. 

Red chalk; roy., 1\ X 5| in. 

4. Three on one mount, roy., viz. : — 

(a) Panel of Ornament. Half of a square pattern with rosette ornament. 

Eed chalk ; 2 X 3 \ in. 

(b) Bronze Head of Medusa. 

Bed chalk ; 3$ X 4£ in, 

(c) Figure of Perseus. A figure carrying a sickle and a wallet, clothed in a 

chlamys and a winged cap, and with a sort of saw attached to the calves of 
the legs, standing on a pedestal with steps. Apparently drawn from an 
Italian Cinque-cento copy of a Greek or Etruscan Perseus, with a misunder- 
standing of certain details; thus the wings attached to the sandals have 
become a meaningless saw ; the helmet of Hades lias been transformed and 
enlarged by a sort of bat wing attached behind, added perhaps as attribute 
of au evil spirit whom the figure may have been supposed to represent. 
Red chalk ; 7£ X 3§ in. 

5. Three on one mount, roy., viz. : — 

(a) Grotesque Ornament. Grotesque ornament with a goose and an old man's 
head. 

Red chalk and Indian ink ; 2| X 2g in. 

(b) Panel of Ornament. Panel of Renaissance ornament under a cornice. 

Indian ink ; 3§ x 6| in. 

(c) Trophy of Musical Instruments ; carved in relief on a panel. 

Sepia wash and pen ; 2| x 6| in. 
All purchased July, 1875. 



PATON, Walter (worked about 1820-1840). 
master ; biography unknown. 



Draughtsman and writing 



1. Portrait of Charlotte, Princess of Wales. Miniature bust portrait of the 
Princess in an oval, three-quarter face turned r., eyes looking nearly full, 
1. hand on breast; very minutely executed with a pen in imitation of an 
engraving, and surrounded by an inscription with elaborate flourishes, Sacred to 
the Memory of her late lamented Royal Highness Charlotte Princess of Wales, etc., 
followed by Campbell's lines, Still may thy name speak concord from the tomb, 
etc. Signed Walter Paton script. Two locks of hair, Princess Charlotte's and 
Prince Leopold's, are fastened at the lower edge of the paper. 

Pen-and-ink ; imp., 19| X 16 in. 

Charlotte Augusta, b. 1796, only daughter of George IV. and Caroline of 
Brunswick, who were totally estranged before her birth ; brought up in seclusion ; 
engaged for a time to William, Prince of Orange, afterwards to Prince Leopold 
of Saxc-Coburg, whom she married 1816; died in child-bed 1817, universally 
lamented for her simplicity and charm of nature. 

Presented by the artist, August, 1848. 



William Payne. — William Pearson. 



161 



PAYNE, William (worked about 1776-1813). Water-colour painter; 
came from Plymouth to London 1790, already known as a landscape 
pjiinter, and soon became the most fashionable drawing master of the 
day ; noted for his technical innovations in water colours, and for 
the mannered style of his later works; Associate 1809-1812 of the 
Water Colour Society ; exhibited at various galleries 1776-1813. 

1. Bear Bridges, near Okehampton, Devon. A stone bridge of two arches 
across a stream, the bank of which forms the foreground ; on the further bank is 
a tree r. and a man on a horse riding towards the bridge, over which a peasant 
drives two oxen; beyond are low hills with Okehampton church and vicarage 1. 
Signed W. Payne. 

Water colours ; roy., 12£ X 16J in. 
Exhibited 1790. 
Purchased August, 1859. 

2. Coast Scene with Figures. Part of a rocky cove, with the sea r. and fisher- 
men hauling up a net from the water ; in the 1. foreground a group of four men 
by a rock, above which another man with a staff is climbing the cliff; rocks with 
trees above them shut in the cove ; twilight effect. 

Water colours and body colours on brown paper; roy., 8 X llf in. 
Purchased June, 1871. 

3. Landscape Composition. Remains of a castle on an island in a river which 
flows in rapids out at the 1. ; a rocky shore in the foreground with tree 1. ; in the 
distance a mountain seen in an opening between wooded slopes. 

Water colours; roy., 12J x 18| in. 
Purchased October, 1877. 

4. Ferry on the Wye. A ferryboat, with two women as passengers, putting off 

from the bank at the junction of a creek with the river ; a number of figures on 
the bank, in front of a cottage ; at the back of a cottage an old tower in a 
garden, and the sails of boats partly seen r. ; in the foreground, separated by the 
creek from the other bank, two men gathering drift wood. 
Water colours; roy., 7f X 5| in. 

5. Landscape with a Church. View from a bridge over a streamlet which comes 
down under trees from the r. ; on the bridge 1. a man talking to an old woman 
and boy ; beyond at the 1. a small church in a hollow, partly seen above the 
intervening ground. Signed W. Payne. 

Water colours; roy., 5j X 7f in. 

Nos. 4 and 5 were purchased August, 1879. 

6. Torbay. A beach at low tide with a boat and capstan near the water r., and two 

large boats further off 1., drawn up near a road which winds down densely 
wooded slopes to the beach ; fishermen busy about the larger boats, and masts, 
tackle, lobster pots, etc., on the sand; a sailor and his wife come over the biacii 
1. towards the foreground ; across the bay appear the softly wooded hills now 
occupied by Torquay, and the promontory of Hope's Nose r. Signed W. Payne. 

Water colours ; roy., 10$ X 15| in. 

Purchased August, 1890. 



PEARSON, William (worked about 1798-1813). Water-colour painter ; 
exhibited landscapes at the Royal Academy and elsewhere 1798- 
1809 ; painted in the manner of Girtin. 

1. Mountains and Lake. Wide view looking over a desolate prospect of moorland 
and mountain, obscured by heavy rain-clouds which blur the distant ranges ; 
near the foreground 1. is part of a lake fed by a stream coming down from the 
hills r., and with a farm among trees overlooking its further shore. Signed and 
dated W. Pearson Feby. 1802. 

Water colours; imp., 12 x 19J in. 
Purchased May, 1890, at the Percy sale. 
vol. in. M 



162 



Drawings of the British School. 



[2-23] Drawings in the Crace Collection of London Views, purchased November, 1880. 
These drawings are of different character from the usual work of William 
Pearson, but no other artist of the time, bearing this name, is recorded. 

2. The West Front of St. Ann's Church, Princes Street, Soho, 1810. 

Water colours ; 8 £ X 5£ in. 
No. 6 in Portfolio xvm. 

3. North Front of St. Mary Magdalen Church, Knight Rider Street, 1812. 

Water colours ; 8 X 6| in. 
No. 8 in Portfolio xx. 

4. St. Benet's Church, Paul's Wharf, Thames Street, 1810. 

Water colours ; 8 x 6£ in. 
No. 11 in Portfolio xx. 

5. Church of St. Andrew Wardrobe, 1810. 

Water colours ; 8 X 6 in. 
No. 13 in Portfolio xx. 

6. St. Michael's Church, Queenhithe, North Front, 1812. 

Water colours ; 8 x 6J in. 
No. 18 in Portfolio xx. 

7. Church of Allhallows the Great, Thames Street. 

Water colours ; 6| X 8J in. 
No. 28 in Portfolio xx. 

8. St. Anthony's Church, Watling Street, 1810. 

Water colours ; 8£ x 6% in. 
No. 34 in Portfolio xx. 

9. St. Austin's Church, North Side of Watling Street, 1810. 

Water colours ; 8 X 6 J in. 
No. 36 in Portfolio xx. 

10. St. Mary Aldermary Church, Bow Lane, 1812. 

Water colours ; 8f X 6 J in. 
No. 38 in Portfolio xx. 

11. St. Swithin's, Cannon Street, North Front, 1812. 

Water colours ; 8J X 6| in. 
No. 51 in Portfolio xx. 

12. St. James's Church, Duke's Place, Aldgate, 1812. 

Water colours ; 7£ X 7f in. 
No. 96 in Portfolio xxm. 

13. The New Chdrch of Allhallows, London Wall, 1810. 

Water colours ; 8 X 5| in. 
No. 85 in Portfolio xxv. 

14. Church of St. Giles, Cripplegate, 1813. 

Water colours ; 6£ x 8 in. 
No. 116 in Portfolio xxv. 

15. Church of St. Vedast, Foster Lane. 

Water colours ; 8 X 6§ in. 
No. 150 in Portfolio xxv. 

16. St. Mary Magdalen, Bermondsey. 
Water colours ; 6J x 8£ in. 

No. 10 in Portfolio xxxiv. 

17. Church of St. John, Horsleydown. 

Water colours ; 8J X 6£ in. 
No. 31 in Portfolio xxxiv. 

18. St. Olave's Church, Southwark, S. Front. 

Water colours ; 8J X 6£ in. 
No. 107 in Portfolio xxxiv. 

19. View of Christchurch with the Old Houses in Front, 1810. 
Water colours ; 6J x 8 in. 

No. 1 in Portfolio xxxv. 



William Peckitt. — Aaron Edwin Penley. — Francis Perry. 163 

20. St. Alban's Church, Wood Street. 

Water colours ; 8£ X b'J in. 
No. 36 in Portfolio xxi. 

21. South View of St. Andrew Undershaft. 

Water colours ; 8J x 6J in. 
No. 71 in Portfolio xxm. 

22. Old Houses at the N.W. Corner of the Minories and Aldgate, looking 
towards St. Botolph's Church, 1810. 

Water colours ; 8| x 6| in. 
No. 92 in Portfolio xxm. 

23. St. Saviour's Church, S.W. Front, Southwabk. 

Water colours ; <6\ X 8 in. 
No. 129 in Portfolio xxxiv. 

PECKITT, William (b. 1731, d. 1795). Glass painter; born at Hurs- 
thwaite, Yorkshire ; pupil of Price ; worked at York ; painted windows 
at Oriel and New Colleges, Oxford, and at Trinity College, Cambridge. 

1. Head of a Cherub. Cut out and pasted on a piece of paper inscribed Head 
of Cherub designed and painted by the late W'"' Peckitt — Yorh. 
Body colours ; roy., 9£ X 1\ in. 
Presented by C. F. Bell, Esq., October, 1901. 

PENLEY, Aaron Edwin (b. 1807, d. 1870). Water-colour painter; 
worked in London ; exhibited (chiefly portraits) at the Royal 
Academy 1835-57, but best known for his landscapes, mostly 
exhibited with the New Water Colour Society, of which he was a 
member ; a teacher of drawing, and author of several treatises on 
water-colour painting. 

1. Castle and Lake. A lake reflecting on its further shore the round towers of 
a ruined castle, with woods 1., and a group of trees r. ; mountains in the distance. 

Water colours, with touches of body colour ; roy., 7| X 13J in. 
Purchased May, 1885. 

2. View from Birdlif, Gloucestershire. View from the brow of the Cotswolds, 
looking 1. over the plain to the Malvern hills; in the r. foreground a path, 
leading among quarries, where stonemasons are at work near a hut ; an old 
woman goes along the path, to the 1. of which is a cluster of boulders with a hoy 
sitting near them, and further off two artists sketching, and a donkey standing 
by. Inscribed At Burdlip n r Cheltenham — the Malvern hills in the distance. 

Water colours; imp., 10 x 19J in. 

3. Study of Boulders. A mass of rocks on the bank of a brown hill stream 
which flows round them into the r. foreground ; trees and bushes on the slope 
1. ; beyond, a glimpse of open moorland with distant rain. Signed A. Penley. 

Water colours ; imp., 10| x 17f in. 

4. Bocks on a Hillside. A rough hillside sloping down from the r., and 
covered with loose rocks and heather. Signed and dated in pencil At Taliaris 
Park South Wales, 1860, A. Penley, and in ink Aaron Penley, at Taliaris 1860, 
South Wales. 

Water colours; imp., 12f x 19| in. 
Nos. 2-4 were purchased June, 1871. 



PERRY, Francis (b. 1765). Engraver; born at Abingdon; studied 
painting under Vanderbank and Richardson, but abandoned this for 
work as a draughtsman and engraver of topographical views and of 
coins and medals ; executed the plates for Ducarel's ' Anglo-Gallic 
Coins,' 1756, and himself published a series of British Medals. 

m 2 



164 



Drawings of the British School. 



1. Head op Bishop Latimer; from a Medal. Medal with profile bead looking 
r.. with bf-ard and wearing cap ; round the medal the inscription Hugo Latimerus, 
Episcopus Wigornien. Signed F. Perry fe. 
Pen-and-ink ; roy., 4 X 3f in. 
Bequeathed by the Kev. C. M. Cracherode, 1799. 

PETERS, Rev. Matthew William, R.A., (b. 1742, d. 1814). Painter ; 
born in the Isle of Wight ; studied art in Dublin ; exhibited at 
London galleries from 1766, and became well known for his portraits 
and subject pictures ; painted several subjects for Boydell's Shake- 
speare Gallery; paid several visits to Italy; elected A.R.A. 1771 ; 
R.A., 1777 ; took orders 1783, and held livings in Leicestershire and 
Lincolnshire ; many of his works were very popular through 
engravings. 

1. Portraits of Maria and Charlotte Fortesctje. Two heads of young ladies 

in an oval ; tbe elder sister, at the r., turns her head slightly to the 1. and looks 
in the same direction ; the younger is seen in full face over her sister's shoulder, 
her eyes turned a little r. ; both have their blonde hair massed above their 
faces and tied with pink ribbons. 

Pencil and chalks, touched with body colour ; roy., 10 X 8J in. 

Portraits of the two daughters of the Rt. Hon. James Fortescue ; Maria 
Catherine was married, 1781, to Captain John Sloper, and afterwards to Colonel 
George Francis Barlow; died a widow about 1853. Charlotte was married, 
1796, to Sir Henry Goodricke, of Ribston Hall, Yorkshire. 

Purchased April, 1901. 

2. Scene from ' The Merry Wives of Windsor.' Falstaff dressed as Heme the 

Hunter, with stag's horns on his head, standing between Mrs. Page and Mrs. 
Ford, one of whom beckons to Sir Hugh Evans behind a tree 1. ; behind at the 
r. Anne Page and others as fairies carrying tapers in procession. 

Pen-and-ink, with Indian-ink and water-colour wash ; imp., 13f X 17f in. 

Purchased July, 1878. 

PETRIE, George (b. 1789, d. 1866). Landscape painter and antiquary ; 
son of a portrait painter ; painted landscapes in various parts of 
Ireland, and made illustrations for several guide books ; elected 
member of the Royal Hibernian Academy 1828 ; best known by his 
writings on Irish Antiquities, especially the Round Towers ; published 
'Ancient Music of Ireland,' 1855. 

1. Kilniddery Castle, Wicklow. A near view of the Tndor mansion from the 
grounds, with a pond in the 1. foreground. Signed and dated George Petrie 
delt. 1822. 

Indian ink and indigo; roy., 8f X 13£ in. 

Engraved by T. Barber in G. N. Wright's ' Guide to the County of Wicklow,' 
London 1822. 
Purchased May, 1890, at the Percy sale. 



PHILIPS, Charles 
unknown. 



(worked about 1820). Draughtsman; biography 



Portrait of Maria Graham, afterwards Lady Callcott. Head turned r. 
nearly in profile and looking r., wearing turban over short waving hair. (The 
bust very faintly pencilled.) 
Black chalk ; roy., 9& X 7£ in. 

For biography of Lady Callcott see under her name, Vol. I., p. 178. 
Purchased March, 1872. 



E. Pierce. — II. Pilleau. — J. Pillement. 



165 



FIERCE, Edward (d. 1698). Sculptor and mason; son of Edward 
Pierce, a decorative painter and assistant of Van Dyck ; pupil of 
Edward Bird, and employed as assistant by Wren ; executed a marble 
bust of Cromwell, and other statues and monuments ; worked in 
London. 

1. Pillar at Seven Dials, London. Elevation of a Doric pillar on a pedestal 
with a pinnacle at the top surrounded by sundials (blank in the drawing), 
three of which are shown. Drawn to scale and inscribed A Stone Pillar with 
Sun-Dyuls, to which are directed 7 streets in St. Giles' Parish, commonly called 
the Seven Dyals, formerly a Lay stall : designed and drawn by Edw d - Pierce 
Sculpto[x~]. 

Pen-and-ink, with Indian-ink wash ; imp., 20£ X 12| in. 

Under the date October 5, 1691, Evelyn records: 'I went to see the building 
beginning neere S'" Giles', where 7 streets make a star from a Doric pillar 
placed in the middle of a circular area.' The column was removed in 1773, and 
in 1820 set up on the green at Weybridge, where it now is. All who described 
the dials gave their number as seven, but the actual Btone is hexagonal, as 
appears also from the drawing. 

2. Design for Monument to the 2nd Duke op Buckingham in Westminster 
Abbey. An elaborate monument: in the centre a military trophy and the 
effigies of the Duke and Duchess on a sarcophagus under a canopy, with a 
figure of Fame blowing a trumpet on a cupola above; at the sides, between 
Corinthian pilasters, are statues of the Duke and Duchess as in life ; on the 
plinth are seated figures of Faith, Hope, Wisdom and Fortitude ; at the top are 
Genii with wreaths and palms, a lion and an eagle and trophies. Below the 
sarcophagus lies the figure of a baby with a coronet on its pillow, with two 
weeping cherubs on either side. Inscribed Designed by Edw d ' Pierce for the 
Duke of Buckingham to be set up in Westminster Abbey. 

Pen-and-ink, with Indian-ink and sepia wash; atl., 19£ X 19J in. 

Both purchased June, 1881. 



PILLEAU, Henry (worked about 1850-1893). Landscape artist ; worked 
in London ; exhibited at the New Water Colour Society and other 
galleries, 1850-1893; painted landscapes both in oils and water colours. 

1. A Shady Lane. A lane leading from the foreground between trees which 
overarch it and screen the sky with foliage ; at a bend in the road a woman 
in a red cloak comes into view. Signed H. Pilleau. 
Water colours ; roy., 16$ x 13J in. 

Purchased October, 1886. 



PILLEMENT, Jean (b. 1727, d. 1808). Painter; born at Lyons; 
designed for Gobelins tapestry; came to England before 1757; 
painted landscape and genre subjects in oils, but best known by his 
chalk and gouache drawings, which were engraved in large numbers ; 
worked afterwards chiefly at Lyons, also in various parts of Europe. 

1. Landscape with Cottages. A pond with cottage and trees r. in the fore- 
ground, and other cottages at the top of a slope 1. ; a girl with a laden donkey 
coming from the cottage through a gap in a fence ; a man on a path going up 
the slope, and a cow and two goats on another path. Signed J. Pillement. 
Black chalk and stump : roy., 12 x 1(5 J in. 

Purchased June, 1860. 









166 



Drawings of the British School. 



PIN WELL, George John (b. 1842, d. 1875). Water-colour painter 
and book illustrator ; born in London ; drew on wood for Dalziels 
and other firms from 1863, contributing illustrations to 'Good 
Words,' ' Once a Week,' etc. ; elected associate of the Water Colour 
Society 1869, member 1870 ; painted chiefly subjects from literature, 
in a style allied to that of P. Walker, but with less landscape element ; 
worked in London ; died of consumption, which a visit to Tangier 
failed to arrest. 

[1-3] Water-colour drawings. 

1. Study of a Girl. Head and bust of a girl wearing a small cap above the red- 
brown hair which falls on each side of her sunburnt face ; her head is inclined 
to one side, and her eyes closed ; dress partly sketched in, but unfinished. 

Water colours and body colours ; roy., 6§ X 5| in. 

Purchased November, 1881. From the artist's sale. 

2. Town Children and Town Sheep. Scene in a London park, with sheep and 

lambs in the foreground, and a young tree r. ; at the 1. a girl, holding a baby 
on her arm and leading a young boy, comes over the grass towards the sheep ; 
in the background figures passing to and fro on a gravel walk, with trees behind. 
Monochrome (brown) water-colour sketch, heightened with white; roy., 
11£ X 9f in. 

3. A Fairy Tale. A lady in a high-peaked cap and gown with long train 
standing in a wainscotted room ; she holds a paper in her hand and looks over 
her shoulder to some figures slightly indicated at the 1. 

Pen-and-ink, water-colour, and body-colour sketch ; roy., 4J X 7 in. 
Nos. 2 and 3 were purchased June, 1886. 
[4-8] Drawings on wood. 

4. Illustration to Goldsmith's Poems. A girl sitting at a desk, the drawer of 

which lies open, looking down on a book which she holds in one hand, and a 
pressed flower which she holds in the other. Signed with monogram. 

Pencil on boxwood, heightened with white ; 5 X 4 in. 

Engraved by Dalziels for their 'Illustrated Goldsmith,' p. 261, as headpiece 
to ' Stanzas on Woman.' 

5. A Family in Church. A pew in which a man sits r. while his young wife 
kneels beside him, and a little girl sits in the corner 1. The figures are dressed 
in the costume of the Commonwealth period. Signed with monogram and 
dated '6Q. 

Pen-and-ink on boxwood, heightened with white; 4f x 4 in. 

6. Illustration to Goldsmith's ' Good Natured Man,' Act V. A room in the 
inn ; Croaker entering 1. and surprising his son Leontino and Olivia, who sit 
talking about him at the r. ; Leontine looks round as his father asks, ' How 
does he look now ? ' Signed with monogram. 

Pen-and-ink on boxwood, heightened with white ; 7 X 5J in. 
Engraved by Dalziel for ' Goldsmith's Works,' p. 311. 

7. Illustration to Goldsmith's ' She Stoops to Conquer,' Act II. Marlow and 
Miss Hardcastle conversing; she sits 1. smiling to herself, while he sits in 
extreme embarrassment looking at the floor and twisting a handkerchief in his 
hands ; behind them is a harpsichord. Signed with monogram. 

Pen-and-ink on boxwood, heightened with white ; 7 X 5| in. 
Engraved by Dalziel for ' Goldsmith's Works,' p. 343. 

8. Illustration to Goldsmith's ' She Stoops to Conquer,' Act V. Marlow on 
his knees before Miss Hardcastle, taking her hand and protesting, ' Does this 
look like security ? ' Behind a screen r. appear the heads of Mr. and Mrs. 
Hardcastle. Signed with monogram. 

Pen-and-ink on boxwood, heightened with white ; 7 X 5£ in. 
Engraved by D dziel for ' Goldsmith's Works,' p. 375. 
Noe. 4-8 were purchase 1 October, 1893. 



Francis Place. 



167 



PLACE, Francis (b. 1647, d. 1728). Draughtsman, etcher, and engraver; 
of a Durham family ; articled to an attorney in Gray's Inn, but on 
the outbreak of the Great Plague left London and settled at York, 
drawing crayon portraits, animals, and still life, but better known by 
his topographical landscapes, both drawn and engraved, in the manner 
of his friend Hollar ; one of the earliest, if not the earliest, of English 
mezzotinters. 

1. York, from -without Castle Gate Postern. View on the Ouse, looking 
towards the bridge which spans it at some distance off; at the r. beyond trees 
and the old walls rise the Minster and the main buildings of the city ; in the 
foreground are men fishing from the river bank, and further off, men and women 
drying linen in a meadow. 

Sepia wash and pen ; roy., 6| X 12 J in. 

2. ' York, S.E. by S.' A long view of the city from without the walls ; the 
Minster and the castle, from which a salvo is being fired, being prominent in 
the centre; undulating fields in the foreground, with a man and a woman 
standing together at the r. Inscribed York S.E. by 8. 

Pen-and-ink, with Indian-ink and pale green wash ; roy., 6f X 29J in. 

3. ' York, from beyond the Water Tower at St. Mary's.' View on the Ouse. 
with the Water Tower on the bank 1. ; a barge on the stream is being towed 
towards the city, which appears beyond, with the towers of St. Martin's and 
All Hallows', and the spires of St. Mary's and All Saints'. Inscribed with 
above title and with names of churches, etc. 

Pen-and-ink, with Indian-ink and red wash; roy., 3£ X 17| in. 

4. York from opposite Mary Gate Tower. View of the city from the Ouse, 

which flows along the foreground, showing the Tower 1. with the ruins of 
St. Mary's Abbey behind, and the Minster further off, towards the r. The 
drawing is unfinished at the r. 
Pen-and-ink over pencil ; roy., 5£ X 16 in. 

5. Four drawings on three leaves of a sketch book, inlaid in one sheet, as follows : — 
(a) Kevtrse of leaf 1 and obverse of leaf 2, (b) reverse of leaf 2 and obverse of 
leaf 3, (c) reverse of leaf 3, (d) obverse of leaf 1. 

(a) ' York from Fisher Gate Barr.' A long view with the Minster in the 
centre, the Castle and the ruins of St. George's Church near the foreground 
r. Inscribed with above title {Barr being substituted for Postern) and with 
names of buildings, etc. 

Pen-and-ink, with Indian-ink wash ; roy., 3£ x I7f in. 

(b) View of Ely. View of the cathedral anil city from the N., fields sloping 

gently to the foreground. The spire on the cathedral west tower has 
been removed. 

Pen-and-ink and grey wash ; 4 X 17| in. 

(c) Boston, Lincolnshire. View from the W., with the church tower rising 

above the low roofs of the town. 
Pen and sepia ; 3 £ x 8g in. 

(d) Slight Sketch of a Landscape. 

Pen-and-ink ; 3| X 8£ in. 

6. Ouse Bridge, York. Near view of fhe bridge, from the middle of the river, 

with the little chapel at the r. Inscribed Oms Bridg York, 1703. Between the 
Butments or first spring of the arch 83£ feet or 27| yards. 

Sepia wash and pen ; roy., 4§ x llf in. 

This view and the next may be compared with the two views by Girtin, 
Nos. 43 and 44 in this Catalogue. 

7. Ouse Bridge, York. A near view of the main arch of the bridge and of the 

chapel over the two side arches r. 
Pen-and-ink, partly washed with Tndian ink; roy., 8J X 11 in. 



168 



Drawings of the British School. 



8. ' Prospect op St. Mary's Abbey near York.' View of the Ouse, on which 
are boats, with the ruins of the abbey on rising ground beyond. Inscribed with 
above title. 

Pen-and-ink, with Indian-ink wash ; roy., 1\ X 12| in. 

9. Richmond Castle from the S.E. View of the Swale valley and the town of 

Richmond set in the hollow at a little distance, and the ruins of the Castle, with 
the tall keep crowning the hill at the r. ; a man standing by his horse in the 1. 
foreground. Inscribed on a margin below The South East side of Richmond 
Castle with part of the Towne in 1674. 
Pen-and-ink, with Indian-iDk and water-colour wash ; roy., 7 X 11 £ in. 

10. Richmond Castle. A near view of the ruins from the N.W. with the keep L 
Inscribed in pencil and pen Richmond Castle. 

Pencil and sepia wash, partly gone over with pen and sepia ; roy.,4| X 17£ in. 

11. Part op Richmond Castle. An archway and closed door in the wall, ending 
in a broken tower 1. Inscribed (twice) Part of Richmond Castle, and dated 1G89. 

Pen and sepia, with Indian-ink wash ; roy., 5| X >£ in. 

12. Pickering Castle prom Cattgate's Mill, 171:). View of the ruins of the 
castle, built on a series of mounds at the 1. with a road curving round it r. 

Pen-and-ink, with Indian-ink wash; roy., 8£ X 16'£ in. 

13. Ruins op Knaresborough Castle. Part of the ruins, standing 1. on the top of 
a precipitous cliff. Inscribed Part of the mines of Knaisborough Castle. 

Pen-and-ink, with sepia wash ; roy., 7 X 14 in. 

14. Ruins of Knaresborough Castle, 1711. Remains of a square tower and two 

round towers on a cliff at the r. Inscribed Part of the mines of Knaisborough 
Castle 1711. 
Pencil, with sepia was-h ; roy., 7f X 12^ in. 

15. Ruins op Knaresborough Castle. 1703. A near view of the remains of one of 
the main parts of the castle. Inscribed Part of the ruines of Knaisborough 
Castle, 1703, F. P. 

Sepia wash and pen ; roy., 12f x 16J in. 

16. The Dropping Well, Knaresborough. A steep moss-tufted rock 1., from which 

the water drips into a pool below. Inscribed The Droping Well Knaisborough 
P.P. 

Indian ink, with pen-and-ink outlines ; roy., 12£ X 16 in. 

17. The Dropping Well, Knaresborough. View of the reck from the other side, 

with steps ^oing up at the 1. Inscribed The Droping Well Knaisborough F. P. 
Indian ink, with pen-and-ink outlines ; roy., 4 x 9 in. 
Compare the view of the same spot by Francis Nicholson, described above. 

18. A Castle on a Hill. A hill sloping to the r. foreground, with ruins of a 

castle wall and tower on the top. 
Pen-and-ink, with Indian-ink wash ; roy., 4 x 9 in. 

19. Ob. Ruins of Byland Abbey, Yorkshire. Part of a wall with one of the 
ruined pinnacles of the west front 1. Inscribed Part of the Ruines of Byland 
Abbie. 

Indian-ink wash and pen ; roy., 12| x 7| in. 

Rev. Ruins of the same Abbey. Fragments of the walls, from the interior. 
Inscribed Part of the Ruines of Byland Abbie. 
Sepia, with some pen-and-ink. 

20. Ruins op the same Abbey. Part of the west front, from the interior. Inscribed 

a peece of Byland Abbie 1713. 
Pen-and-ink and sepia wash ; roy., 7£ x 7£ in. 

21. Ruins op Easby Abbey, Yorkshire. View of the ruins 1. partly hidden by 
rising ground, with farm buildings r. Inscribed Easby Abby by Richmond. 

Indian ink over pencil; roy., 5£ X 17J in. 

22. Cleveland Port, Yorkshire. A hamlet with ruined towers of old fortifications 
on the sea, and a ship on the stocks. On the same sheet, 1., a sketch of a woman's 

figure. Inscribed Cleveland. 
Pen-and-ink, with slight Indian-ink and water-colour wash; roy.,8f X 13£in. 



Francis Place. 



109 



23. Scarborough Castle from the N.W. View of the ruins on the top of the 
cliff, with the sea 1. Inscribed bcarborough Castle from the Nor West. 

Sepia wash and pen ; roy., 4§ x 1 6§ in. 

24. Ob. Bridlington Quay. View on the beach with the jetty projecting r. into 
the sea, and houses on a high bank beyond. Inscribed Bridlington Key. 

Pen-and-ink, with Indian-ink wash ; roy., 4 x 17f in. 

Bev. Views at York. Two round views, one inscribed The Tower Gate at Yorh, 
the other inscribed York from the river Ouse without Skeldergate Postern. Also 
a study of rocks. 
Pen-and-ink. 



25. 



Ob. Scarborough from Burlington Boad. A long view from the cliffs to 
the S. of the town with the sea r. Inscribed Scarborough from Burlington Boad, 
distance about 2 . . . [word illegible]. 

Pen-and-ink and water-colour tint ; roy., 4 x 17J in. 

Bev. Two Views. Two round views, one inscribed Part of Sherif Hutton Castle, 
the other a castle with river and boats in the foreground. Also, an unfinished 
fcketch of Ely Cathedral. 

Pen-and-ink and Indian-ink wash. 



2G 



27. 



28 



29 



30 



Coast near Bridlington. View looking N. ; cliffs 1., and boats on a rough sea 
r. Inscribed By Bridlington. 

Sepia wash and pen ; roy., 6£ X 16 in. 

'Hull from Holderness Side.' A long view of the town with the tower of 
Holy Trinity Church rising towards the 1., and fort r. ; marshes iu the fore- 
ground. Inscribed with above title. 
Sepia wash and pen; roy., 4$ X 16£ in. 

Ob. Block-house, Hull. A small detached fort on the shore of the estuary ; 
a ship and boats on the water 1. Inscribed One of the Block Houses att Hull. 
Pen and sepia, with Indian-ink and sepia wash ; roy., 4 x 8£ in. 

Rev. Unfinished Subject. A group of saddled horses, in a circle (with a pencil 
sketch of an artist seated drawing). 
Pen-and-ink. 

The South Side of Kingston Basin, Hull. The basin, with the town on the 
further shore, and the block house r. Inscribed The South Side of Kingstone 
byson, Hull, and with names of the various buildings, etc. 

Pen-and-ink, with Indian-ink and indigo wash ; roy., 7 X 17J in. 

Ob. View of the Coast of Lincolnshire. View on a sandy shore looking 
across the Humber to the coast of Lincolnshire ; a ship is near the shore. 
Inscribed Lincolnshire. 

Pen and sepia, with slight water-colour wash ; roy., 3f X 8£ in. 

Rev. Baynard's Castle. View of a village and bridge over a river. (With a 
pencil sketch of the castle, in a circle.) 
Pen-and-ink, with Indian-ink wash. 

Part of Berwick Castle. View of the Tweed with the castle on a cliff 1. and 
hills r. Inscribed on a margin below Part of Berwick Castle. 
Pen-and-ink, with neutral tint wash ; roy., 5 x 16J in. 

32. Dunstanborough Castle. The castle ruins on a hill r., cornfields 1. below, and 
the sea beyond, with ships in the offing. Inscribed TheRuinesof Dunstanborough 
Castle in Northumberland in A° 1678. Signed F. P. 

Pen-and-ink, with some Indian-ink wash; roy., 5 x 16J in. 

On the reverse is part of an inscription by a former owner : Bath Jan. 11, 1762 
Given me that Ev. by Wadham Wyndham, Esq., at his own house ; his Lady was 
daughter to Mr. Place, who made this drawing. 

Nos. 1-32 were purchased February, 1850. 

Tynemouth Castle and Lighthouse. View on the shore, with the sea 1. and 
the castle and lighthouse on the cliff. Inscribed Tinmnuth Castle and Light- 
house, by the ingenious Mr. Francis Place. Signed Fra. Place Fecit. 

Pen-and-ink, with Indian-ink aud yellow wash ; roy., 6| x 18 4 in. 

Purchased November, 1866. 



31 



33 



170 



Drawings of the British School. 



34. A Rocky Island. A small island of precipitous rock with a few buildings on it 
and ships and boats anchored near; in the foreground 1. a boat by a small 
headland. 

Pen-and-ink, with Indian-ink wash ; roy., 5 X 9 in. 

Place etched a number of Mediterranean views similar to this, though he is 
not known to have travelled to the Mediterranean himself. 

Purchased February, 1850. 



35. Ob. Heads of Docks. 
Signed F. Place. 
Pen-and-ink and sepia wash 



Seven studies of heads of ducks in various positions. 

roy., 8£ X 12g in. 

Rev. Head op a Duck. With a small study of a duck on water. Signed F. P. delin. 
Pen-and-ink and sepia wash. 

36. Studies of Waterfowl. Heads of four birds, against three of which are 
inscriptions : The Head of a Mallard. The head of a fishing fowl. The bladt 
diver or Scotor wh. is described in Mr. Willoghbys booke. This was Mid upon 
Ous 170 f . The whole body is black foote and all. 

Pen-and-ink and water-colour wash ; roy., 8 J x 12| in. 
Nos. 35 and 36 were purchased January, 1857. 

37. View of York from without Skeldergate Postern. View looking up the 
Ouse to the Ouse Bridge 1., and the city r. Inscribed with above title and with 
names of buildings, etc. 

Pen-and-ink, with Indian-ink and sepia wash ; imp., 8£ X 22| in. 

38. Part of York Castle from Clifford's Tower. View looking down on a 
building with a central tower and wings, facing a grass enclosure ; at the r. the 
Ouse winds away into the flat country, passing the village of Fulford on the 
1. Inscribed with names of places, etc. 

Pen-and-ink, with some water-colour wash ; imp,, lOf X 24J in. 

39. Ob. Part of the Euins of Middleham Castle. Interior angle in the ruin, 
mounded up with earth. Inscribed Part of the ruins of Midlam Castle, 1711. 
Signed F. P. 

Pen-and-ink, with sepia wash ; imp., 12J x 14^ in. 

Rev. Part of Middleham Castle. A wall with a great rent in it, and tower 
beyond. 

Pen-and-ink, with sepia wash. 

40. Knaresborough Castle. View looking across the Nidd to the scattered ruins 
of the castle on the opposite hill, with water-mill below 1. Inscribed Part of 
Knaisborough Castle with the Mills, 1711. 

Pen-and-ink, with srpia and water-colour wash; imp., 8 X 21£ in. 
Nos. 37-40 were purchased February, 1850. 



POCOCK, Nicholas (b. about 1741, d. 1821). Painter, chiefly of marine 
subjects ; born at Bristol ; went to sea early, and commanded the 
ships of a Bristol merchant, sketching on his voyages ; exhibited at 
the Royal Academy from 1782, sending chiefly sea and battle pieces; 
worked in London 1789-1817 ; one of the founders of the Water 
Colour Society 1804 ; painted landscapes as well as marine pictures, 
both in oils and water-colours. 

1. H.M.S. ' Windsor Castle.' The ship is seen from some distance astern, firing 
a salute from her starboard guns; in the foreground a sailing boat stranded on 
a beach, and two men rowing a small boat near it ; in the offing r. a sloop, and 
1., further oflf, a man-of-war. 

Water colours ; roy., 5| X 8f in. 



Nicholas PococJc. 



171 



2. Lynton, Devonshire. View looking up the Bristol Channel, with, hills sloping 
to the water, and the foaming Lyn coming down a valley and under a bridge 
at the r. ; in the foreground, 1., a group of three children sitting on the banks of 
the stream, two men, one sitting and one standing, in the centre, and at the r. 
some cottages clustered near the bridge ; on the opposite bank is a house. 
Signed aud dated, N. Pocock, 1801. 

"Water colours ; roy., 10J x 14§ in. 

3. View on the Sea Coast. View looking from a lane, where it emerges on open 
ground bordering a blue bay, with a headland running out from the r. beyond ; 
trees on either side of the lane and a cottage at the bottom of it 1. ; in the 1. 
foreground a man seated by the wayside, near a thatched shed. 

Water colours ; roy., 7J X 10§ in. 

4. On the Coast op Somerset. A cove under the cliffs, with the boats on the 
beach r., and fishermen bringing oars, nets, etc., up from the water 1. ; a cutter a 
little way out at sea, and high cliffs in the distance. 

Water-colour sketch over black chalk ; roy., 5f x 8f in. 

5. Shipping in a Storm. A three-masted lugger running before the wind, another 

lugger in the distance 1., and a frigate r. ; rough sea and stormy sky. 
Indian-ink and water-colour sketch ; roy., 9£ X 10£ in. 

Nos. 1-5 were presented by Sir Walter C. Trevelyan, Bart., December, 1870. 

[6-8] Drawings of the action between Sir Samuel, afterwards Viscount, Hood and 
De Grasse off Martinique. Hood was sent by Kodney, early in 1781, to blockade 
Martinique. He represented to Rodney his dangerous leeward position, should 
the French fleet arrive, but without effect. On the morning of the 29th April 
De Grasse's fleet of twenty ships appeared, and effected a junction with the four 
French ships at Fort Boyal. After a partial action De Grasse retired into Fort 
Boyal and Hood joined Rodney. 

6. The English and French Fleets off Fort Royal Bay, Martinique, 

April 29, 1781, at 7 a.m. Stern view of the English fleet in line of battle 
ahead, the French fleet in the distance stretching across from 1. to r. ; at the 1. 
four of the French ships at anchor in Fort Royal Buy ; at the r. a single ship 
(the Prince William) sailing to join the English line. 
Water colours and Indian ink ; roy., 7§ X 16J in. 

A MS. memorandum acquired with the drawing describes it as follows : No. 1. 
The English fleet, consisting of 18 sail, commanded by Sir Saml. Hood, having 
been driven to leeward by Currents during the Night, stretching to the south' 1 in 
line of battle ahead to fetch up with the evening — the Prince William joining the 
Fleet from Gross Met [Gros Islet] St. Lucia. The French Fleet, consistiiig of 20 
sail, coming down before the wind and forming their line — their rear stretching 
into Fort Boyal Bay, to cover their Convoy and effect their junction with the ships 
in the bay — the 4 sail at anchor are the ships which afterwards joined. Signed 
and dated Pocock, 1784. 

7. The English and French Fleets, in the same position, from a different 
point of view. The English fleet is seen at some distance coming up from 
the 1., the Prince William in the foreground sailing to join it : the French fleet 
stretches parallel to the English r., engaged in forming its line ; in the r. 
distance the coast of Martinique. 

Water colours and Indian ink ; roy., 7§ X 16 in. 

The corresponding memorandum has No. 2 — Position of the English and French 
Fleets 20'A April 1780 [sic] off Fort Boyal Bay, Martinique at 7 o'clock a.m. 
The same as No. 1. — but diff' point of view. Signed Pocock. The date should 
have been 29th April, 1781. 

8. Partial Engagement between the English and French Fleets, off 

Martinique. Part of the English fleet engaged with part of the French 
fleet, both being seen from the rear ; beyond, the coast of Martinique. Signed 
and dated N. P. 1784. 

Water colours and Indian ink ; roy., 7J X 16$ in. 



172 



Drawings of the British School. 



The corresponding memorandum has No. 3 — Second position, the English Fleet 
standing to the North, Having tack'd to near Die Enemy, as the Wind broke 
them off, when they open'd the, Diamond [i.e., the Diamond Kock] several of the 
Van were separated at some distance from the centre, which the French endeavour' d 
to take advantage of, and bore down to attack them, 8 o'clock a.m. 29'A April, 1780 
[sic]. Signed and dated Fococl: 1784. 

9. Skirmish between the English and French Fleets off Dominica, 9th 
April, 1782. View of the English van advancing in line ahead, engaged by 
the French centre also advancing at the 1. and parallel to the English, while the 
French van I. sails round to renew the attack ; in the distance r. is the rest of 
the Engl'sh fleet (commanded by Eodney) and 1. the mountains of Dominica. 
Signed N. P. 

Water colours and Indian ink ; roy., 7$ X 16J in. 

The corresponding memorandum has No. 4 — Position of the English and 
French Fleets on the 9 h of April 1782 at $ past 10 a.m. The French Centre and 
Van attacking the English Van, consisting of eight ships under Sir Saml. Hood in a 
constant routine tacking and wearing in succession, the Alfred coming into her 
station, Commodore Affiick with part of the Van coming up with a light breeze. 
The Centre and Rear becalm' d at a great distance. N.B. This action by damaging 
and disabling several of the Enemy's drips secured the victory of the 12 (/ '. 
Signed and dated Pocock 1781. 

Nos. 6-9 were purchased December, 1876, at the Major sale. 

10. Eastboukne, Sussex. View looking W. al< ng the seashore to Eastbourne, a 

cluster of houses facing the sea, and the downs, ending in Beachy Head, 
beyoud ; in the foreground a bout with two officers in the stern putting off 
through the rough water to a brig heaving-to at the 1. ; on the beach r. two 
fishermen near a hauled-up smack ; a sm.ill lugger near the brig, and a cutter 
beyond it 1. Inscribed Eastbourne, Sussex. 
Water colours; imp., 12J x 17f in. 

11. Dunster from Blue Anchor, Somerset. View looking across a bay to Dunster 

town and castle, and the hills behind, with Dunkery Beacon in the distance ; in 
the foreground a beach with a huge overhanging rock 1., and some boys and 
girls by a smack hauled up near the water's edge ; in the bay a barque tacking 
from the r. 

Wahr colours; imp., 12£ x 17| in. 

12. Brockly Combe, Somerset. Part of a wooded valley, with a kiln 1., and a 

man emptying lime into it from a wheelbarrow ; in the foreground a little girl 
aud boy stand talking to a boy who is sitting on a stone with a dog beside him ; 
a man with faggots going up a path in the background, and a cart further off. 
Signed and dated N. Pocock 1790. 

Water colours; imp., 13^ X 18| in. 

Nos. 10-12 were presented by Sir Walter O. Trevelyan, Bart., December, 
1870. 

13. Ischia from Posilipo. A rocky shore, with groups of peasants ; three fishermen 

drinking in a grotto r., a group of girls and two men talking in the foreground ; 
sailors more to the 1., drinking at the water's edge, and others putting off in a 
boat ; in the distance the peaked island of Ischia and rocky coast r. ; in the bay 
an English frigate under full sail and a felucca nearer the shore 1. ; evening 
light. Signed and dated A T . Pocock 1793. 

Water colours; ant., 21| x 31£ in. 

Purchased June, 1871. 

14. Vignettes to Falconer's ' Shipwreck,' inserted opposite the engravings by Fittler 

in a copy of the edition of 1804. 

(1) The Launch of the 'Britannia' Merchantman at Deftford. The 
ship, just launched, gliding down the river, gay with flags ; in the fore- 
ground 1. men on a wharf and on a lighter, cheering ; beyond, the towers of 
Greenwich. 

Water colours; 4 X 5| in. 1 



i The drawings have been Inlaid on extra pages of the book. The measurements given are those of the 
original pieces iiilaid. 



Nicholas PococJc. — Arthur Pond. — Paul F. Poole. 



173 



Engraved by J. Fittler for the title-page of the poem. ' Mr. Pocock's 
design in this View,' according to an editorial note, ' was to give an exact 
1 or trait of a Merchant Vessel employed in the Levant Trade when 
Falconer wrote.' 

(2) The Ship unmooring by Moonlight at Candia. The ship near shore 
with fore topsail loose and sheet hauled home; at the r. a felucca partly 
hidden by the shore, and the town of Candia beyond ; at the 1. the island of 
Standia. Signed and dated N. Pocock 1803, and inscribed Shipwreck Canto 
if first, lines 788, 789. All hands unmoor, proclaims a boistrom cry | All 
hands unmoor, the cavernd rocks reply | Boused from repose, aloft the sailors 
swarm. 

Water colours ; 6§ X 5J in. 
Engraved by Fittler, p. 9. 

(3) The Water Spout. A water spout with the ship 1. firing at it, Mount Ida 

and the Cretan coast beyond. Signed and dated N. Pocock 1803, and 
incribed Canto n. I. 41. 

Water colours ; 4£ X 5 J in. 

Engraved by Fittler, p. 51. 

(4) The Ship driving past Falconera. The ship, with mizzen-mast cut 
away, scudding before the storm past a beacon-tow -r on the rocky isle of 
Falconera. Signed and dated N. Pocock 1803. Inscribed Shipwreck Canto 
y K 3 d line 119. Four hours thus scudding on the tide she flew \ then 
Falconera's rocky height they view, etc. 

Water colours ; 8£ X 5 J in. 
Engraved by J. Fittler, p. 97. 

(5) Arion and the body of Palemon ; rejected design. Arion on a rock 

below Cape Colonna holding the dying Palemon by the hand; the faces are 
obliterated. (Above, a pencil sketch for the figures arranged as in the 
complete design.) 

Water colours ; 9 X 5J in. 

(6) Arion and the body of Palemon; final design. Arion on a rock in 
the sea, wringing his hands, over the body of Palemon, who lies drowned at 
his feet; beyond, Cape Colonna with its temple. 

Water colours ; 5| x 5£ in. 
Engraved by J. Fittler, p. 139. 
Purchased July, 1888. 

POND, Arthur (b. about 1705, d. 1758). Painter and engraver ; 
studied in London and in Rome ; became a successful portrait painter 
in London ; well known also for his etchings and engraved reproduc- 
tions of Italiau Masters. 

1. Study for Portrait of Jonathan Richardson, Senior. Head in three- 
quarter face turned r., eyes looking full, wearing a morning cap. Signed 
Pond delin ; and inscribed Constans et Lenis Cato, Vale ! Vale ! 

Bed chalk; roy., 18£ x 12£ in. 

For Richardson's biography see in this Catalogue under his name. 

Purchased June, 1881. 

POOLE, Paul Falconer, R.A. (b. 1807, d. 1879). Painter; born at 
Bristol ; almost entirely self-taught ; painted domestic and idyllic 
subjects, afterwards scenes from history, poetry, and romance ; elected 
A.R.A. 1846, R.A. 1861 ; worked in London. 

1. A Girl at a Well. A girl, bare-headed and bare-footed, in red bodice and 
yellow petticoat, resting a pannikin on the edge of a stone fountain r., with eyes 
turned towards the 1.; a misty background, and at the 1. a tall foxglove. 
Signed and dated P. F. Poole, '37. 

Water colours; imp., 15f X 12| in. 

Bequeathed by Henry Vaughan, Esq., August, 1900. 






174 



Drawings of the British School. 



POPE, Alexander (b. 1688, d. 1744). Poet and amateur painter; born 
in London ; the famous author of ' The Rape of the Lock,' the 
' Epistle to Arbuthnot,' the ' Essay on Man,' and the ' Dunciad ' ; 
drew from childhood, and studied painting under Charles Jervas ; laid 
out the celebrated grounds of his villa at Twickenham, where he lived 
from 1719; painted and copied portraits ; designed a fan, and a 
small frontispiece to his ' Essay on Man.' 

1. A View in Pope's Garden at Twickenham. A small octagonal open temple 
of fantastic design with an altar smoking in the centre backed by rock work, 
with arched grottoes on either side and with trees behind ; in the 1. foreground 
a fountain with Nereids and Tritons, a rainbow gleaming in the spray; at the 
r. a bust of Homer, near which a painter, palette in hand, talks to a companion 
who examines the temple through a glass ; in the centre a tripod with a dolphin. 

Pen-and-ink, with sepia wash; imp., 11| X 15| in. 

Purchased November, 1872. 



POPE, Alexander (b. 1763, d. 1835). Actor and painter ; born in Cork; 
son of a miniature painter ; drew crayon portraits for some time as a 
profession in Cork, but soon took to the stage, played at Covent 
Garden or Drury Lane 1785-1827, and was famous in tragic and 
pathetic parts; continued to paint miniatures throughout life; 
exhibited at the Royal Academy 1787-1821. 

1. Portrait op Henry Grattan. Half-length, turned to front, the face in three- 
quarters turned r. and looking r. ; blue coat and stock, with single eyeglass 
hanging from the neck by a ribbon. 

Water colours, highly finished ; roy., 5| X 4J in. 

Engraved in stipple, with the addition of a chair and curtain, by J. Godby, 
and published 1810. A whole-length portrait by Pope of Grattan was engraved 
by E. Scriven and published 1814. 

Henry Grattan, statesman, b. 1746 in Dublin ; after practising for a time at 
the bar, he sat from 1775 till 1800 in the Irish House of Commons, where he 
supported the popular cause with extraordinary eloquence and success; entered 
the English House of Commons 1805 and held a seat in it till his death in 1820, 
but refused office, though a zealous Whig ; one of the most famous of British 
orators, noted for the fire and fervour of his speeches, his political consistency 
and his broad and exalted views. 

Purchased May, 1863. 



PORTER, Sir Robert Ker (b. 1777, d. 1842). Painter, born at Durham ; 
brother of Jane Porter, the novelist ; studied in London at the Royal 
Academy ; painted several panoramas of battles and sieges, some of 
the first of their kind; appointed historical painter to the Tsar, 1804, 
and painted large pictures in St. Petersburg ; travelled in Finland, 
Sweden, Germany, and Spain (where he accompanied Sir John 
Moore's expedition), revisiting Russia 1811, and marrying a Russian 
princess; travelled 1817-1820, in Georgia, Persia, etc.; British 
Consul in Venezuela 1826-41; author of several works on his own 
travels ; died at St. Petersburg. 



Sir Robert Ker Porter. 



175 



1. Cossacks charging Infantry. A mounted Cossack about to plunge his lance 
into a prostrate soldier, whose comrades are fleeing L; at the r.. other Cossacks 
riding on. 

Pencil sketch ; roy., 7g X 10 in. 

2. The Death of Rutland. The young Earl of Rutland kneeling before Lord 

Clifford and begging his life, while Clifford raises his sword to strike him. 
Illustration to Shakespeare, Henry VI., Part in., Act I., Sc. 3. Inscribed 
Sketch for Death of Rutland. B. K. Porter, 1796. 
Red chalk, roy., 7| X 6 in. 

3. Vignette Design to Jane Porter's ' Field of Forty Footsteps.' A serpent 

entwining itself round a burning torch, a crown, and a sceptre (on which its 
teeth fasten), among sprays of oak leaves ; an allegory of the Civil War and 
execution of Charles I. Inscribed " The cruellest deed that ever disgraced a 
nation." Field of Forty Footsteps. B. K. P. 

Sepia wash and pen on stone-gray paper, heightened with white ; roy., 
105 X 9 I in - 

On the reverse is a quotation from the romance, Chap. 2, p. 28, etc., not 
referring to the design, which is not engraved in the Edition of 1828. 

4. Studies of Athletes. Two men grappling in the Pancratium; two youths 

throwing the dice ; two runners in the foot-race ; three riders in the horae-race. 
Inscribed Pancratium — Discus — the Foot Bace — the Horse Bace. 
Pen-and-ink, with sepia wash ; roy., 9J X 1\ in. 

5. Students and Athletes. A sheet of studies, similar to the last: a student 
in cap and gown reading; two other youths lying in the open air and also 
reading ; two wrestlers ; two boxers ; and the wasted corpse of a man lying on 
his back. Inscribed Study — The Athletse — Wrestlers — The Cestus. 

Pen-and-ink, with sepia wash ; roy., 9 X 7^ in. 

6. Study of a Head. A man's head in three-quarter face, looking down 1. 

Pencil ; roy. 4f x 3£ in. 

7. Types of Heads. A row of profiles, arranged according to their facial angle 
from that of an intelligent European type to that of a negro, a dog, and a swan ; 
other types of profile sketched below. 

Pen-and-ink ; roy., 7| X 9J in. 

Nos. 1-7 were transferred from the Department of MSS., October, 1850. 

8. Two on one mount, roy., viz. : — 

(a) Illustration to Tboilus and Cressida, Act in., Sc. 2. Pandarus taking 
Cressida by the arm and presenting her to Troilus, who stands 1. 
Indian ink over pencil ; 3f X 2£ in. 

(6) Illustration to Henry VI., Part hi., Act n., Sc. 5. The King standing 
1. against a rock and clasping his hands in grief as he looks at the soldier, 
who has just recognized his father in the man he has killed, and whose 
body he carries up the hill towards Henry. 
Indian ink over pencil, 3| x 2| in. 
Purchased August, 1868. 

9. A Warrior charging. An old warrior on horseback, with sword and shield 

uplifted, rushing on to the r. 
Indian ink : roy., 3| X 2| in. 
Etched by J. Neagle. 
Purchased July, 1889. 

10. Charge of the Scots Greys at Waterloo. The Greys charging from the 1. 
on the bayonets of the French Guards, drawn up r. ; in the foreground dead 
and dying soldiers, and at the 1. more of the Guards firing at the Greys. On 
a separate strip of paper beneath is The Scotch Greys charging the Young 
Guard at Waterloo. B. K. Porter. 

Pen-and-ink outline ; imp., 14| X 21 J in. 

Transferred from the Department of MSS., October, 1850. 



176 



Drawings of the British School. 



11. Sketch book containing sketches made during the campaign of Sir John Moore 
in Portugal and Spain, 1808-9; i% X 7£ in. 

In autumn, 1808, Sir John Moore was left Commander-in-Chief of the British 
Forces in the Peninsula. He himself was with part of his army at Lisbon ; the 
remainder was sent out to join him by way of Corunna. Moore left Lisbon 
27th October, and effected a junction with the force from Corunna at Majorga 
on 20th December. The whole army was advancing, and within two hours of 
Soult's force, when an intercepted letter brought the news that Napoleon had 
entered Madrid, and that the line of retreat into Portugal was cut off. Moore 
decided to retreat on Corunna, which was reached 13th January, 1809. The 
embarkation had begun when the French attacked. They were beaten off, but 
Moore was killed in the action, 16th January. 

(1) Aqueduct at Lisbon. Continuous view on two pages of the book. 
Inscribed Acquaduct at Lisbon, Oct., 1808. 

Pen and sepia, with sepia and indigo wash. 

(2) Well in a ' Qutnta.' Slight sketch. 

Pencil. 

(3) Convent at Carlaxo. Inscribed Carlaxo Convent. 

Pen-and-ink. 

(4) Distant View of Santaeem. Inscribed A distant view of the town of 

Santarem, in Estremadura, Portugal. 
Pen-and-ink and sepia wash. 

'5) Tancos, on the Tagus. A village on the bank and a castle on an island 
in the river. Inscrined A view of the village and castle of Tancos, on the 
river Tagus. 

Indian-ink wash and pen. 

Engraved in aquatint by I. C. Stadler. 

(6) ' Sazados ' (Sarzedas). Bare upland rising in a peak. 

Sepia wash and pen. 

(7) 'Pass of the Mountains from Cardizos.' 

Pen-and-ink. 

(8) Idanha Nova. Ruins of a castle on a hill overlooking a plain. Inscribed 
The Castle of Idanhia Nova, Portugal. 

Pen-and-ink. 

(9) A Mountain Pass, with soldiers in the foreground. Inscribed Between 
Abrantes and Villa del Rey, on the pass of the mountains. 

Sepia wash and pen. 

(10) Sarzedas. View of the village. Inscribed Sazados. 
Pen-and-ink. 

The castle and village. Inscribed Idanhia Nova. Dated 



Continuous view, on two pages. 



Inscribed Continuation of 



(11) Idanha Nova. 
12'A Nov r . 

Pen-and-ink. 

(12) The Serra d'Estrella from Zibrera. 
Inscribed Sketched from Zebrera. 

Pen-and-ink. 

(13) The same view continued. On two pages. 
the same line from Zebrera. Monday, li'h. 

Pen-and-ink. 

(14) Bridge over the Elga at Segura. Inscribed Sagoura and the river 
Elga, the Soman bridge which crosses it and joins the two kingdoms of 
Portugal and Spain. 1808. Nov 1 '. 

Sepia wash and pen. 

Engraved in aquatint by I. C. Stadler. 

(15) Roman Arch on the Bridge at Alcantara. Inscribed on the back 
The Arch on the bridge at Alcantara in Estremadura, built by order of Trajan. 

Sepia wash and pen. 



Sir Robert Ker Porter. 



Ill 



Inscribed A distant view of 



Inscribed The City of Sala- 



(16) Mill at the Foot of Trajan's Bridge. 

Slight pencil sketch. 

(17) Plasencia and the Mountains behind it. 
Plasentia. 

Pen and sepia, with monochrome wash. 

(18) Near View of Plasencia. Continuous view on two pages. Inscribed 
The city of Plasentia, Cathedral Bridge, etc. 

Pen and sepia, with monochrome wash. 

(19) Aqueduct of Plasencia. Inscribed the city of Plasentia and its aquaduct. 

Pen and sepia, with monochrome wash. 

(20) Bridge over the Tormes at Salamanca. 
manca and bridge, Nov. 28th, 1808. 

Pen and sepia, with water-colour tint. 

(21) Distant View of Salamanca. Inscribed Salamanca from the river, on the 
Madrid road, 1808. 

Pen and sepia, with water-colour tint. 

(22) Interior of Salamanca Cathedral. 

Sepia wash and pen. 

(23) A Bullock Cart. 

Slight pencil sketch. 

(24) The Bridge at Alcantara. 

Pen and sepia, with water-colour tint. 

(25) Salamanca. 

Pen and sepia, with water-colour tint. 
Engraved in aquatint by I. C. Stadler. 

(26) Ploughing with Oxen. 

Slight pencil sketch. 

(27) Convent of San Domingo. Inscribed Convent of San Domingo or Dominique. 

Pen and sepia, with sepia and indigo wash. 

(28) Aloijos. Inscribed Aloijos. 

Pen-and-ink. 

(29) Toro, and the Duero Valley. Inscribed Castle of Torro and distant 
country with the river Duero. 

Pen and sepia, with sepia and indigo wash. 

(30) Castle of Toro, from a ravine below. Inscribed Torro, the castle of. 

Pen and sepia, with sepia and indigo wash. 

(31) Monastery at Toro. A monastery on a precipitous rock, and a view 
over the Duero valley. Inscribed a monastery at Toro. 

Pen and sepia, with sepia and indigo wash. 

(32) Distant View of Benavente. The army marching towards the city 
from the foreground. Inscribed Benevente from the opposite heights on the 
Mayor ga road. 

Pen-and-ink. 

(33) A Castle on the Bock. Inscribed Castle at Benevente. 

Pen and sepia and indigo wash. 

(34) Machicolated Towers. Inscribed Part of the castle at Benevente. 

Pen and sepia, with sepia and indigo wash. 

(35) Plain of Benavente, with a tower on a high rock 1. Inscribed Plain of 
Benevente. 

Pen and sepia, with sepia and indigo wash. 

(36) A Convent on a Hill in Leon. The army marching along a road 
below. Inscribed Convent between Bembilberis [Beinbibre?] and Villa 
Franca. 

Pen and sepia, with sepia and indigo wash. 
vol. hi. N 



178 



Drawings of the British School. 



(37) A Castle on a Steep Hill. Inscribed Castle between Villa Franca and 
Lugo. 

Pen and sepia, with sepia and indigo wash. 

(38) A Snow-covered Pass in Galicia. With the army winding along tho 
mountain side. 

Pen and sepia, with sepia and indigo wash. 

Engraved in aquatint under the title ' Mountain of Nogallis leading to 
Lugo,' by I. C. Stadler. 

(39) Part of the same Pass. Upright view, with soldiers and artillery 
marching along the steep path. Inscribed part of the road in the snow 
mountain. 

Pen and sepia, with indigo and sepia wash. 

(40) Explosion op the Powder Magazine at Corunna. View of the bay, 
crowded with vessels, and hills behind, with the town r. ; an enormous cloud 
of smoke going up from a magazine near the town. Inscribed Corunna 
Jany 13th 1809. Magazine exploding 120,000 barrels of powder. 

Pen and sepia, with indigo wash. 

Engraved in aquatint by I. O. Stadler. 

According to Napier (Peninsular War, Book IV., chapter 5), there were two 
magazines, the larger one containing 4,000 barrels of powder, the other a smaller 
quantity, less than 8,000 barrels in all. The prodigious figure given by Porter 
must have been a wild exaggeration. The magazines contained arms and 
ammunition sent out early in 1808 from England, but the Spaniards had 
neglected to use them ; and by Moore's orders they were both blown up on 
Jany. 13th, the day of his arrival at Corunna, to prevent their falling into the 
hands of the French. 

(41) Lighthouse at Corunna. A lighthouse on a headland overlooking the 
Atlantic. Inscribed Pharos at Corunna. 

Pen and sepia, with indigo and sepia wash. 



(42) Convent near Benavente. 
Pen-and-ink. 



Inscribed Convent on the plain at Benevente. 
Purchased February, 1857, at the Utterson sale. 



POWELL, C. M. (d. 1824). Marine painter; began life as a sailor; 
self-taught ; painted in oils and water colours ; exhibited marine 
subjects at the Royal Academy and British Institution, 1783-1821. 

1. Shipping in a Calm. Calm water, with a low coast r. ; near the r. foreground 
a man-of-war (a frigate), her crew setting her sails ; two other frigates at some 
distance, one anchored 1., the other setting sail towards the horizon ; nearer, a 
yacht sailing away with a light breeze, and at the extreme r. in the foreground 
a boat with men landing on a jetty. 

Water colours and Indian ink; roy., 10J x 15| in. 

Purchased June, 1869. 



POWELL, John (worked about 1796-1829). Painter and etcher; said 
to have been born about 1780 ; painted first in oils, afterwards almost 
entirely in water colours ; exhibited landscapes at the Royal 
Academy 1796-1829 ; well known as a teacher ; published etchings, 
both original and after old masters ; worked in London. 

1. At Ower, near Komsey, Hants. A stream crossed by a wooden bridge r«, 
with a clump of alders 1. ; on the bridge a man fishing ; woods behind. Signed 
and dated J. Powell 1802. 

Sepia over pencil ; roy., 5£ X 8£ in. 



John Powell — A. Power — Ellen Power. 



179 



2. Landscape, with a River. A river (the Wye ?) winding among wooded hills, 
and flowing into the r. foreground, bordered 1. by a path, with a cottage at a 
little distance, and, nearer, a man sitting on a stile across the path. 

Indian ink over pencil ; roy., 8£ X 12§ in. 
Nos. 1 and 2 were purchased March, 1868. 

3. At Tintern. A road by the banks of the Wye, the water of which just appears 
at the 1. with a tree at the edge ; opposite the tree is a row of buildings, the 
nearest of which is a tall stone water-mill, with a huge wheel ; a man on a 
horse, preceded by a dog, comes along the road, and other figures are farther off 
near the houses, one in a boat. Signed and dated J. Powell 1805. 

Water colours and Indian ink ; roy., lOf x 8 in. 
Purchased October, 1875. 

4. Two on one mount, roy., viz. : — 

(a) Brinkburn Priory. The ruined priory, with fields and trees between it and 
a river which comes into the foreground ; cattle coming down to water from 
the r., and two fishermen on the bank beyond. 

Water colours ; 2 J X 4 in. 

(b) Derwekt Water. View on the east shore of the lake, looking south to 
Borrowdale, with Lodore and the crags above it 1. ; on the path by the 
shore, near the foreground, a fisherman with a dog, talking to a girl. 
Signed /. Powell. 

Water colours ; 2 J X 3g in. 

Purchased May, 1890, at the Percy sale. 

5. At Bridgenorth, Shropshire. View looking up a steep road which comes round 
a sharp comer from the 1. ; at the corner on the 1. side is a tall gabled house 
abutting on a sandstone cliff; on the other side of the road is a cottage, with 
trees on a high bank behind, and in the foreground r. is part of another cottage, 
in the doorway of which are two women, one about to enter ; a man on a pony 
comes round the corner of the road preceded by a man with a bucket ; a woman 
is hanging out clothes by the further cottage, and there are other less prominent 
figures. 

Sepia over pencil ; imp., 14| x 22J in. 
Purchased October, 1872. 



POWER, A. (worked about 1800). Water-colour painter; worked at 
Maidstone; exhibited two flower pieces at the Royal Academy, 1800. 

1. Two on one mount, roy., viz. : — 

(a) A Ruined Abbey. Part of the ruins of an abbey r. ; trees 1. ; two men 
standing near the priory wall. Signed A. Power. 
Water colours ; (with framing border) 5 J x 7$ in. 

(V) A House under Hills. An old gabled house, at the garden gate of which 
the host is parting with a lady ; trees r. and near hills in shadow rising 1. 
Signed A. Power. 
Water colours ; (with framing border) 6J X 8 J in. 



POWER, Ellen (worked about 1700). 
unknown. 



Flower painter ; biography 



1. Sketchbook containing drawings in water colours and body colours of flowers, 
fruits, birds, and insects. 

(1) A Damask Rose. Inscribed Damask Rose, 1. 

(2) A Spray of Filberts. Inscribed Filberds, 2. 

(3) Red Lily. Inscribed Red Lillie, 3. 

(4) Sweetbriar. Insoribed Eagllentine, 4. 

(5) Rose Campion. Inscribed Rose campion, 5. 

n2 



180 



Drawings of the British School. 



(6) Cowslip. Inscribed Cowslip, 6. 

(7) Peaks on a Bough. Inscribed Pears, 7. 

(8) Clove Gilliflower. Inscribed Clove gilli flower, 8. 

(9) A Primrose Plant ; with a young frog. Inscribed Primrose, 9. 

(10) A Spray op Gooseberries. Inscribed Gooseberries, 10. 

(11) A Daffodil Flower and Bud. Inscribed Daffodilly, 12. (Pago 11 is 
missing.) 

(12) Flower de luce. Inscribed Flower de luce, 13. 

(13) A Bough of Cherries. Inscribed Cherries, 14. 

(14) Borage. Inscribed Burr age, 15. 

(15) A Cluster of Grapes. Inscribed Grapes, 16. 

(16) Pink. Inscribed Pinch, 17. 

(17) A Sprat of Barberries. Inscribed Barberries, 18. 

(18) Columbine. Inscribed Cohbine, 19. 

(19) Hazel Nuts on a Bough. Inscribed Nutte, 20. 

(20) Carnation. Inscribed Carnation gi., 21. 

(21) Single Marigold. Inscribed Marygold, 22. 

(22) Corn Flower or Blue-bottle. Inscribed Bothell, 23. 

(23) A Pomegranate on a Bough. Inscribed Poundgarnct, 24 (' Pomegarnct ' 
is another old form of the word). 

(24) Pansy. Inscribed Paunsey, 25. 

(25) Foxglove. Inscribed Foxefingers, 26. 

(26) Strawberry Flower and Fruit. Inscribed Strauberries, 27. 

(27) Stocks. Inscribed Stochgilliflower, 28. 

(28) Peascods and Flower. Inscribed Peasscodes, 29. 

(29) Medlars on a Bough. Inscribed Medlers, 30. 

(30) Holly Leaves and Berries. Inscribed Holly, 31. 

(31) Artichoke. Inscribed Artichoah, 32. 

(32) Titmouse on a bough of berries. Inscribed Titmouse, 33. 

(33) A Peacock with tail spread. Inscribed Peacoch, 34. 

(34) A Parrot on a perch, with cherries. Inscribed Parrat, 35. 

(35) A Goldfinch on a thistle. Inscribed Goldfinch, 36. 

(36) A Kobin on a tree-stump, and a bee. Inscribed Robin-redbreast, 37. On 
the back of this page Ellen Power Boolte. 

(37) Figures of Solid Bodies, cube, globe, etc. On a double leaf. 

Bequeathed by Sir Hans Sloane, Bart.,. 1753. 

PRIOR William Henry (worked about 1833-1857). Painter ; worked 
in London ; painted chiefly landscape ; exhibited in London 
1833-1857. 

1. View in the Old Elgin Boom at the British Museum. View looking down 
a long wooden gallery, along both sides of which the marbles are ranged ; a 
lady and gentleman stand near the foreground. 

Sepia, with colour on the figures ; imp., 15J X 19 in. 
Presented by the artist, January, 1838. 

PROUT John Skinner (b. 1806, d. 1876). Water-colour painter; born 
at Plymouth ; nephew of Samuel Prout ; self-taught ; spent some 
time in Australia, then worked in Bristol and later in London ; 
member of the Institute of Painters in Water Colours, and exhibited 
landscapes, chiefly with that society, 1839-76. 



John Skinner Prout — Samuel Prout. 



181 



1. At Ivybridge, Devon. View on a stream flowing down among rocks and under 
trees into the foreground. Signed /. S. Prout. Inscribed Ivy Bridge, Devon, 
July 19, 36. 

Water colours and body colours over pencil on blue-gray paper (unfinished) ; 
roy., 9£ X 12J in. 

2. Sheepstor, Devon. The banks of a shallow stream, flowing into the foreground 
r., and overhung with aged trees. Signed J. S. Prout. Inscribed Sheepstor, 
Devon., July 9, 36 [part cut off] Dartmoor .... Viper. 

Pencil on blue-gray paper, heightened with white ; roy., 9 X 13 in. 
Both purchased June, 1879. 



PROUT, Samuel (b. 1783, d. 1852). Water-colour painter, etcher and 
- lithographer ; born at Plymouth ; drew for John Britton's topo- 
graphical publications ; drew landscapes, chiefly in the West of 
England, till about 1818, after which his subjects were almost 
entirely the foreign architectural and street scenes by which he is 
best known ; worked principally in London ; exhibited at the Water 
Colour Society and elsewhere, 1803-1851 ; published several books 
on drawing, and a great number of lithographed sketches. 

1. Church at St. Lo, Normandy. Part of the exterior of a Gothic church, 
ornamented with a crucifix and other sculptures ; houses adjoining it 1. ; in the 
foreground a number of country folk, mostly women, with white caps and with 
baskets ; other figures at the windows of the houses. Signed S. Prout. 

Water colours, with pen outlines ; roy., 14 x 9| in. 

2. View in Ghent. View in a street looking towards the tower of St. Bavon ; at 

the r. an angle of the town-hall, with market people below, the saleswomen 
sitting under shelters of matting ; in the r. foreground a heap of baskets under 
an awning. 

Water colours, with pen outlines; roy., 10£ x 8£ in. 

3. A Gothic Well. A carved stone well in a courtyard with a low building 1., in 
the door of which a girl sits talking to two other girls sitting near ; beyond the 
well rises part of a church, with trees 1. 

Water colours, with pen outlines ; roy., 10J x 8J in. 

Nos. 1-3 were bequeathed by Henry Vaughan, Esq., August, 1900. 

4. Stirling Castle. View from the side of the hill on which the castle stands, 
rising r. upon its rock ; at the 1. a view over the plain below to the distant 
Lennox hills ; on the terrace beneath the castle rock a few scattered figures. 
Inscribed Stirling. 

Pencil on stone-gray paper; roy., 10J x 15J in. 
Purchased October, 1852. 

5. Huy. View of the town from the north, the low banks of the Meuse occupying 
the foreground ; the buildings and churches of the town at a little distance on 
both sides of the stone bridge of eight arches which spans the river; beyond the 
town rise bold, well-wooded hills, the nearest spur 1. crowned by a fort; a barge 
in the foreground r. Inscribed Huy. 

Pencil; roy., lOf x 16f in. 
Purchased August, 1871. 

6. Abbeville. View looking down a street to the S. side of St. Vulfran's Church, 
with its two towers 1. flanking the lofty mass of the uncompleted nave. 
Inscribed Abbeville. 

Pencil; roy., 14 x 11£ in. 

7. Utrecht Cathedral. View framed in by a lofty cloister arch, looking across 
the cloister to the tower and west window of the cathedral. Inscribed Utrecht. 

Pencil; roy., 16£ x 11 in. 

8. At Malines. A small fortified building on the bank of a canal, with the 
houses of the town beyond, and the great tower of the cathedral rising above the 
roofs r. Inscribed Malines. 

Pencil ; roy., 9£ X 7 in. 



182 



Drawings of the British School. 



9. Prague Cathedral, View in a street looking towards the tower of the 
cathedral. Inscribed Prague. 
Pencil on Btone-gray paper ; roy., 16J x 10£ in. 

10. In the Temple op Peace, Eome. View in the interior of the ruin, with a 
glimpse through an arch at the r. showing the campanile of a church. Inscribed 
Temple of Peace. 

Pencil; roy., 14£ x 10 in. 

Engraved by J. B. Allen for Jennings' Landscape Annual, 1831, p. 171. 

Nos. 6-10 were purchased May, 1889, at the Quilter sale. 

11. Study of Figures at Ostend. A crowd of country people, men, women and 

children, at a fair ; at the r. a booth with bright coloured stuffs for sale ; at the 
1. a man grinding a knife on a wheel under an umbrella. Inscribed Ostend. 

Pencil and water colours ; roy., 4| x 6£ in. 

Purchased May, 1890, at the Percy sale. 

12. In St. Mark's, Venice. The rood screen of the church, and part of the choir 
beyond, seen from a point under the arch of the S. transept. Inscribed 
St. Mark. 

Pencil on stone-gray paper, partly tinted with water colour ; roy., 14g x 1 0J in. 
Purchased May, 1893. 

13. Anglers. A stream, on the bank of which, 1., near a leaning tree, two boys are 
angling. (An early drawing.) 

Black chalk ; roy., 4 J x 6| in. 

Presented by J. Deffett Francis, Esq., December, 1873. 

PUGIN, Augustus Charles (b. 1762, d. 1832). Architect and draughts- 
man; born in France; came to London about 1798; pupil of John 
Nash ; studied at the Royal Academy ; became well known for his 
water-colour drawings of architecture ; elected associate of the Water 
Colour Society 1808 ; drew (with Rowlandson) the plates to 'Acker- 
man's Microcosm of London ' ; published ' Specimens of Gothic 
Architecture' 1821-3; best known by this and other works in 
promotion of the Gothic revival. 

1. Paris, from the Seine. View looking up the Seine to the Pont Eoyal, with 
the Tuileries 1. and Notre Dame in the distance beyond. 
Water colours ; roy., 13J x 18| in. 
Purchased before 1837. 



PUGIN, Augustus Welby Northmore (b. 1812, d. 1852). Architect; 
son and pupil of the preceding A. C. Pugin ; famous as an architect 
for his churches and other buildings in the revived Gothic style ; 
wrote various books on Gothic architecture ; designed scenery in his 
earlier years ; and painted landscapes in water colours. 

[1-7] Unmounted drawings, made in the artist's boyhood. 

1. Design for "West Front of a Church, with a spire. Signed and dated A. 
Pugin 1821 and inscribed my first design A. W. Pugin 1852. 9 years old. 

Pen-and-ink ; 20| X 14 in. 

2. Study in Perspective: an oil warehouse. Inscribed Composition, Oil Ware- 
house 1822, A. Pugin. 

Pencil; 11J X 14| in. 

3. Archway of a Tudor Building. 

Pencil, 6J X 3| in. 

4-7. Illustrations to the 'Arabian Nights.' One of these is dated 1825. 
Pencil. 
Purchased before 1837. 



W. Purser. — J. B. Pyne. — W. H. Pyne. 



183 



PURSER, William (worked about 1800-1840). Landscape painter; 
worked in various parts of England, and in Greece ; some of his 
drawings have been engraved. 

1. A Mohammedan Funeral. View looking down a broad road, lined with 
cypresses and painted monuments, to a blue bay of the iEgean and mountainous 
coast beyond ; advancing up the road comes a funeral procession, headed by a 
single white-bearded Turk, after whom come the bearers of the gaily decorated 
coffin. Signed W. Purser. 

Water colours ; roy., 6f X 9£ in. 

Purchased May, 1890, at the Percy sale. 

PYNE, James Baker (b. 1800, d. 1870). Landscape painter; born at 
Bristol; self-taught; worked at Bristol till 1835, afterwards in 
London ; sketched also on the Continent, chiefly in Italy ; member 
and subsequently vice-president of the Society of British Artists ; 
painted in oils, but more successfully in water colours ; much 
influenced by the later style of Turner ; published three sets of his 
own compositions. 

1. Lowes Water. View on the lake looking to the hills about Buttermere, on the 
further shore, illuminated by warm sunshine from the r., which forms a rainbow 
on a shower receding 1. ; on the shore 1. a boy with a rope pulling a boat with 
fishermen to land. Signed J. B. Pyne N. 471. 

Water colours, touched with body colours ; roy., lOf X 18§ in. 

Purchased December, 1885. 



PYNE, William Henry (b. 1769, d. 1843). Painter and etcher; pupil 
of Henry Pars ; painted landscapes with figures, in water colours ; 
member of the Water Colour Society, 1804-9 ; best known by his 
' Microcosm ' and other illustrated works ; in later life abandoned 
painting for writing, and edited ' The Somerset House Gazette.' 

1. The Traveller. A traveller on horseback, followed by a dog, passing through 
a gate by some elms into a sloping field in which are great numbers of cattle, 
their shadows thrown along the grass by the level light from the r. ; beyond, 
scattered elms and distant woods with a church spire rising among them 1. 

Water-colour tint, with some pen-work ; roy., 6| X 10§ in. 
Purchased October, 1850. 

2. Boats and Barges. Six studies of boats on one sheet, the principal being the 

study of a dung-barge, loaded with manure from a cart on the shore. 

Pen and Indian ink, with slight Iudian-ink wash ; roy., 8£ X 11 in. 

The principal study was etched in reverse by the artist for the ' Microcosm ' 
(Inland Navigation, pi. 1). 

3. Mowers and Haymakers. A number of studies on one sheet ; men mowing ; 
mowers resting to drink ; girls and boys making haycocks ; a farmer on horse- 
back talking to the haymakers ; and similar groups. 

Pen and Indian ink, with slight Indian-ink wash ; roy., 8 J x 11 in. 

4. Bustic Groups. Labourers at dinner, one of them offering refreshment to a 

traveller on horseback ; haymakers drinking ; a man with a pitchfork ; men 
mending scythes and rakes ; men watering horses ; a farmer dismounting to go 
through a gate. 

Pen and Indian ink, with slight Indian-ink wash ; roy., 8| X 1 1 in. 

5. Shepherds. A shepherd standing; a shepherd seated; a shepherd sleeping 
while his dog watches the flock ; the shepherds and their dogs resting on the 
downs ; a shepherd sleeping. 

Pen and Indian ink, with slight Indian-ink wash; roy., 8| X 1) in. 
Nos. 2-5 were purchased July, 1869. 



184 



Drawings of the British School. 



6. Five on one mount, roy., viz. : — 

(a) A Basket Seller. A man with two baskets, accosted by a child sitting 
by the roadside. 

Pencil ; 2§ x 2 in. 

(b) Shepherds. A shepherd reclining on a hillside, another shepherd and a 

boy standing beside him. Below, a man directing a traveller on horseback. 
Pencil, partly gone over with pen-and-ink ; 6J X 4§ in. 

(c) A Horse's Head. 

Pen-and-ink ; 2| x 2 in. 

(d) Eeapers. A farmer riding into a field where men are reaping, one of them 
stopping to drink. 

Pencil ; 3| . x 6| in. 

Etched by the artist in the 'Microcosm' (Harvest, pi. 1). 

(e) Haymakers. Men and women making haycocks. 

Pencil and pen-and-ink ; 2§ X 6 in. 

7. Five on one mount, roy., viz. : — 

(a) A Crane at Work. Men working a crane for hoisting !heavy stones. 

Pencil, 3J X 5 in. 

Etched by the artist in the ' Microcosm' (Cranes, pi. 1). 

(b) Crane at Work. Men working a crane of similar character to the last. 

Pencil ; 3 X 4 J in. 

(c) Ob. A Tripod-Shaped Machine for Hoisting. Unfinished sketch. 

Pencil ; 5£ x 3J in. 

Eev. A Tripod-shaped Machine. 

(d) Crane for moving Timber. Men working a crane for moving timber. 

Pen-and-ink ; 3| x 5J in. 

Etched by the artist in the ' Microcosm ' (Cranes, pi. 1). 

(e) Machine for hoisting Cast-Iron. Men lifting cast-iron on to a truck by 

means of a windlass. 
Etched by the artist in the ' Microcosm ' (Machines, pi. 1). 

8. Five on one mount, roy., viz. : — 

(a) Horse Mill. A mill used in glass manufactories for grinding flints, 
worked by a horse. 

Pen and pencil ; 4 x 6£ in. 

Etched by the artist in the ' Microcosm.' 

(b) Ob. Haymakers at Dinner. Haymakers, to whom a man on horseback 

brings a keg of beer. 
Pencil ; 3£ X 6| in. 

Rev. A Watering Cart. 
Pen and pencil. 

(c) Haymakers. Men loading a sledge with hay. 

Pen-and-ink ; 4 x 5| in. 

(d) Eustic Groups. Three men and a woman round a table in the open air ; 
an old woman with faggots approaching. With pencil sketches of women 
and children above. 

Pen-and-ink ; 6 X 5 J in. 

(e) A Crane. Men loading a cart from a crane. 

Pencil and Indian-ink wash, partly gone over with pen ; 4 X 5$ in. 

9. Five on one mount, roy., viz. : — 

(a) Machine for raising Water. Machine worked by a horse moving in a 
circle. 

Pen-and-ink ; 4 x 5| in. 

Etched by the artist in the 'Microcosm' (Mills, pi. 2). 

(b) Potter's Mill. A horse mill giinding clay. 

Ten and pencil ; 4 x 5g In. 



I 



William Henry Pyne. 



185 



(c) Machine for raising Water. Similar to (a). 

Pencil ; 3 \ X 4f in. 
(jl) Tanner's Mill. Horse mill grinding bark. 

Pen-and-ink, with Indian-ink wash ; 3£ X 5f in. 

Etched by tbe artist in the ' Microcosm ' (Mills, pi. 2). 

(e) Chalk Mill. Horse mill grinding chalk. 

Pen-and-ink, with Indian-ink wash ; 3g X 5| in. 
Etched by the artist in the ' Microcosm ' (Mills, pi. 2). 

10. Seven on one mount, roy., viz. : — 

(a) Pedlar and Cottagers. A pedlar leading his packhorse and offering 
ribbons to a cottage woman and child. 

Pencil ; 3J X 5| in. 

Etched by the artist in the ' Microcosm ' (Pedlars), 
(fc) Sketch for the same Subject. The pedlar and his horse. 

Pencil ; 3£ x 3£ in. 

(c) A Jew Pedlar. Jew pedlar and two children. 

Pencil ; 3£ X 3£ in. 

Etched by the artist in the • Microcosm ' (Pedlars). 

(d) Pedlar and Cottage Folk. A pedlar with his pack tempting a group of 
women and children who stand r. to buy his wares ; his boy, with a box on 
his back, at the 1. 

Pencil ; 3| X 6| in. 

Etched by the artist in the ' Microcosm ' (Pedlars). 

(e) A Tinker. A tinker, with boy and dog, crying along the street. Inscribed 

Tinker. 
Pencil ; 3| X 6| in. 
(/) A Chair-mender, A man mending chairs, his wife and child beside him 
1. Inscribed Chair mender. 
Pencil ; 5| X 4f in. 
(a) Pedlar at a House door. A pedlar on his horse showing his pack to 
two maids and two children. 
Pencil ; 3& X 5 in. 

11. Five on one mount, roy., viz. : — 

(a) Cattle Feeding from a Trough. 

Pencil ; 2£ X 4| in. 
(V) Ob. Carters and Waggoners. Three studies of carts with teams of two 
horses, and a covered waggon drawn by three horses. 

Pencil or pen-and-ink ; 8| X 7J in. 
Eev. Knife-grinders. Two studies of a knife-grinder on a donkey-cart, 
attended by a boy. 
Pen and pencil, with Indian-ink wash. 

(c) Drovers with Cattle. 

Pencil ; 1 J X 3J in. 

(d) Ob. Manure Cart, with two horses, the leader unharnessed. 

Pen-and-ink ; 3f X 4 J in. 

Eev. Studies of Rowing-boats. 
Pencil. 

(e) Rustic Group. A man on horseback talking to two shepherds, one of them 

getting over a fence. 
Pencil ; 2f x 4| in. 

12. Six on one mount, roy., viz. : — 

(a) Countrymen buying Onions. A woman selling a string of onions to a 
man in a smock frock seated on the ground, while another man, leaning 
over a fence, looks on. 
Pencil ; 2J X 3J in. 



186 



Drawings of the British School. 



(b) Ob. Cattle in a Pen. 

Pencil : 2§ X 2| in. 

Rev. Farmers on their Horses. 
Pencil. 

(c) Shepherds making a Pen for their Sheep. 

Pencil ; If X 3| in. 

(d) Drovers with Sheep and Cattle. 

Pencil ; 2 x 5 in. 

(e) Smugglers examining Goods. 

Pen-and-ink ; 3 X 2§ in. 

(/ ) Cattle at a Market. 
Pencil ;2Jx5 in. 
Nos. 6-12 were purchased August, 1871. 

13. Landscape with Beidge and Cottage. A stream flowing into the foreground 
under a wooden bridge, beyond which 1. is a cottage ; trees on the stream's bank 
r. and wooded hills in the distance ; on the bridge a man riding towards the 
cottage, and two men sitting on the fence by the road. 

Sepia; roy., 7£ X 10 in. 
Purchased October, 1877. 

14. East Front of Westminster Bridge, and the Abbey. View from the 
Lambeth side, with two barges unloading in the foreground, and boats on the 
river ; morning light. 

Water colours ; imp., 12J X 19£ in. 

Purchased with the Crace Collection of London Views, November, 1880. 

Formerly No. 118 in Portfolio V. 

15. Six on one mount, roy., viz. : — 

(a) Groups of Women and Children. 
Pen-and-ink ; 2£ x 8£ in. 

(&) Men on a Barge laden with Barrels. 
Pen-and-ink ; 2§ x 4J in. 

(c) A Horse and Cart. 

Pencil ; 1| X 2 J in. 

(d) Two Pigs. 

Pen-and-ink ; 2§ x 4£ in. 

(e) A Water-cart. 

Pen and pencil ; 3£ x 5 in. 

(/) Women at a Large Fountain. 
Pencil ; 3J x 4f in. 

16. Six on one mount, roy., viz. : — 

(o) Gunners Loading a Cannon. 
Pencil ; 2£ x 3£ in. 

(V) Group of Peasants at a Fair. 
Pencil ; 2| X 4£ in. 

(c) Drovers Driving Swine from their Pens. 

Pencil ; 2£ X 4 in. 

Etched by the artist in the ' Microcosm ' (Cattle Market, pi. 2). 

(d) Limbering up a Gun. 

Pencil ; 3 X 8| in. 

(e) Butcher Flaying a Pig. 

Pencil ; 4 x 4£ in. 

(/) Butcher Killing a Pig. 
Pencil ; 4 x 4f in. 

Etched by the artist in the ' Microcosm ' (Cottage Groups, pi. 2). 
Nos. 15 and 16 were bequeathed by H. S. Ashbee, Esq., December, 1900. 



I 



W. Baddon. — Abraham Raimbach. 



187 



RADDON, W. (worked about 1828-1835). Entomologist and draughts- 
man ; well known as an authority on British entomology. 
1. Album, containing highly finished drawings of British insects. 

(1) ACHEEONTIA ATROPOS (LlN.). 

Wuter colours. 

(2) Deilephila Euphorbia (Lin.). Two specimens, and the under side of a 
third specimen. Inscribed Euphorbia Sphinx found at Gray Stones Wood, 
Braunton. 

Water colours. 

Engraved by the artist for the 'Entomological Magazine,' 1835, Vol. II., 
p. 369. 

(3) Deilephila Galii (Kott.). 

"Water colours. 

(4) Deilephila Elpenor (Lin.). Two specimens. 

Water colours. 

(5) Cerura Vinula (Lin.). Inscribed Fed on Poplar and changed Aug. 18. 

Water colours. 

(6) Deilephila Lineata (Fab.). 

Water colours. 

(7) Larva op a Notodonta and Noctua, on Sprays op Birch. 

Water colours and pencil. 

(8) Slight Sketch of a Butterfly. 

Pencil. 

(9) (a) (&) Larva of Stauropus Fagi (Lin.). 

Water colours. 

(10) Deilephila Euphorbije (Lin.). Larva (on a sprig of spurge), pupa, and 
imago. Signed Wm. Baddon Pinxt., ;and inscribed Euphorbia Lathyris. 
Part engraved in Entomological Mag. 

Water colours. 

Engraved by the artist for the ' Entomological Magazine,' 1835, Vol. II., 
p. 369. 

(11) Deilephila Porcellus (Lin.). Inscribed Found by Dr. Stephenson on 
Paling leading to Caen Wood [?]. 

Water colours. 

(12) Deilephila Porcellus. Inscribed Porcellus. 

Water colours. 

(13) Larva Melanchra Pisi (Lin.), and of another Noctua. 

Water colours. 

(14) Larva of Caradrina Cubicularis (Bkh.). Inscribed Caradrina Cubicu- 
laris, feeds on wheat. 

Water colours. 

(15) Larva of Triphaena Fimbria (Lin.). Inscribed Fimbria. 

Water colours. 

(16) Two Birch-feeding Lxrvm and Cocoon. Inscribed beat from the birch at 
Norwood Aug. 31. changed 3 d Sep r - 

Water colours. 
Purchased October, 1877. 



RAIMBACH, Abraham (b. 1776, d. 1843). Line engraver and miniature 
painter ; born in London, of Swiss family ; studied at the Royal 
Academy, and exhibited portraits there 1797-1805; engraved a 
number of illustrations to books, but best known by his large plates 
after Wilkie. 

1. Madonna and Child; after Cipriani. Half leDgth of the Madonna with the 
Child in her arms. In a border. Inscribed Designed by O. B. Cipriani. Sept. 
23rd, 1789. Drawn by A. Baimbach. 

Black chalk ; 9| x 7£ in. 

Purchased February, 1847. Placed with Raimbach's engravings. 



188 



Drawings of the British School. 



KAMBERG, Johann Heinrich or John Henry (b. 1763, d. 1840). 
Painter and engraver ; born at Hanover, came to England 1781 and 
studied at the Royal Academy, where he exhibited drawings and 
historical pictures 1782-88 ; worked afterwards in Italy, Dresden, 
and Hanover, where he was Court painter from 1792 ; best known 
for his book illustrations, many of them etched by himself. 



1. View in the Felsen-Gebirge op Friuli. An Italian peasant family on a grass 

slope before their cottage, which looks down 1. on a river or lake among the 
mountains; the young husband and wife and old mother are smiling at the 
efforts of their little child to coax a cock which struts away from him ; above 
them, r., is a vine climbing over the pergola adjoining the cottage ; close beyond, 
the mountain rises steep, showing towers aud roofs of a town built on its slope. 
Signed /. H. Bamberg. 
Indian-ink wash and pen, slightly tinted ; roy., 12 J x 15 J in. 

2. Shooting. A sportsman about to shoot, aiming r. over two setters ; at the 1. two 
more dogs coming up, followed by another man, who is about to climb a stile, 
Signed J. Ramberg 

Pen-and-ink ; roy., 9& x 17 in. 

[3-14] Allegorical and decorative designs made in celebration of the restoration of 
independence to Hanover in 1813 and of the return of Prince Adolphus Frederick, 
Duke of Cambridge, to that city. The Duke of Cambridge had previously held 
the chief military command in Hanover, and from 1816 to 1837 governed there 
as viceroy. A few drawings of other subjects have been mounted with these for 
convenience of arrangement. 

8. Girls doing Homage to the Genius of Hanover. A band of girls holding 
garlands ranged round an altar on which is the laurelled monogram A. F. ; 
behind the altar a girl, representing Hanover, is being crowned with a wreath by 
her companions; children scatter flowers from baskets in the foreground. 
Signed J. Bmbg. 

Indian-ink wash and pen, slightly tinted; roy., 9 J X 16| in. 

Eugraved by J. Swaine. 

4. Two on one mount, roy., viz. : — 

(a) Design for Decoration. A girl standing before the steps of a temple, with 
a laurel wreath in her lap, pointing to a medallion above the temple door. 
Indian-ink wash and pen, touched with vermilion ; 4f x 3 in. 

(6) Design for Transparency. Britannia, with laurel-wreathed trident and 
refulgent shield, marked with an A, steps ashore followed by Plenty ; a boat 
manned by English sailors puts off to the ship ' Concordia ' seen at a little 
distance r. Inscribed on a blank space at the 1. Britannia in Begleitung 
des Wohlstandes, bringt uns unsern geliebten Herzog wieder. Sie pflanzt den 
mit Lorbeer umhranzten Trident anf das Continent. Die im Bote befind- 
lichen Brittischen Matrosen singen ihr Bute Britannia and das Scliif worauf 
sie gekomen heisst die Eintracht. 

Indian-ink wash and pen, slightly tinted; 10 x llf in. 

5. Design for Transparencies. A panel in two compartments ; at the 1., a 
medallion with head of the Duke of Cambridge, radiating light ; at the r. the 
Horse of Hanover trampling on a serpent. Inscribed below Durch die 
wohltliatigen Stralen seines rechtmassigen Herren neu belebt Springt das Hannov: 
Pferd durch die Klippen die es em»perten und zertrit seinen blutigen feind. Zwei 
Transparenten an den tenstern des Hauses des Hofmaler Ramberg auf de Egidien 
Neustadt. 

Indian-ink wash and pen, slightly tinted ; 9§ x 11 j in. , 



Johann Heinrich Bamberg. 



189 



I. Four on one mount, roy., viz. : — 

(a) Britannia the Protectress. A garlanded niche over a doorway, con- 
taining a seated figure of Britannia armed, with the crown of Hanover on 
her knee. Inscribed Ubersicht des Ganzen. 

Indian-ink wash and pen, slightly tinted ; 8| X 4£ in. 

(b) Head of an Oriental. 

Water colours ; 2§ x 1£ in. 

(c) Head of a Turk. 

Water colours ; 2| x 1J in. 

(d) Two Heads of Orientals. 

Water colours ; 2 x 8 in. 

7. Two on one mount, roy., viz. : — 

(a) The Genius of the New Century. The new-born Genius of the Nine- 
teenth Century receiving a torch from the hand of the Genius of the 
Eighteenth Century, borne off in the arms of Time. Inscribed Der neu- 
geborene Genius des hommenden Jahrhundert, etc. 

Indian-ink wash and pen ; 5 X 4J in. 

(b) The Press Freed by Britannia. Britannia with a thunderbolt bursting 

the fetters of Mercury, the deity of the book trade. Inscribed Britannia 
mit den Donnerkeilen bewafnet befreit durch einen Blitzstral den gefesselten 
Buchhandel. Below G-rosse Transperente vor den Buchladen der gebrud: 
Hahns auf der .... strasse, den Schlosse gegeniiber. 
Pen-and-ink ; 10J x 9J in. 

8. Two on one mount, roy., viz. : — 

(a) A Genius Consoling a Mourner. A woman weeping by a tomb, roused by 

the Genius of Freedom, bearing a torch. 
Pen-and-ink sketch ; 6| x 6£ in. 

(b) Hanover Welcoming her Prince. A winged genius with outstretched 
arms. Inscribed Grosses Transperent, den Genius der Stadt Hannover 
vorstellend der dem Prinzen die Arme entgegen reicht. Ausgefuhrt in Redouten 
Saal. 

Pen-and-ink ; 10J x 7£ in. 

Engraved by J. Swaine, with a view of Hanover below. 

9. Two on one mount, roy., viz. : — 

(a) Illustration to a Story. A girl seated asleep in an arbour ; a boy 
approaching from the background. 

Indian-ink wash and pen ; 4 x 2| in. 
Engraved by Bartolozzi, 1789. 

(b) Britannia's Triumph. Britannia binding the standards of Kussia, Austria. 

Prussia, and Sweden to her trident with a laurel wreath, while the British 
lion tramples on the French eagle. Inscribed at the 1. Britannia vereinigt 
die vier verbiindeten Machte um den Trident, und bindet Hire Falinen mit 
Lorbeeren zusammen. Der Britische LSwe zertrit den franz: Adler. Grosse 
Transperente Ausgefuhrt am Hause des Apothekei- Gruner in der Kalenberger 
Strasse. 

Pen-and-ink; 10 x 11| in. 

10. Two on one mount, roy., viz. : — 

(a) Illustration to a Story. A prince, attended by a hussnr, speaking to a 
girl (Eugenia), who is kneeling on the ground gathering flowers. 
Indian-ink wash and pen ; G| x 4J in. 
Engraved by J. Neagle, 1789. 

(Jb) Civic Virtue. A crowned lion grasping a trident, with laurel wreath hung 
above. Inscribed above, -VIRTUS- CI VIC A; below, Transper: iiber der 
Wache des Biirgervereins. 
Pen-and-ink; 9| x 6J in. 



190 



Drawings of the British School. 



11. Two on one mount, roy., viz. : — 

(o) Apollo. Apollo striking his lyre, a child genius listening by his side. 
Pen-and-ink over pencil ; 4£ x 3 in. 

(b) Hanover's Salvation. A winged genius seated on a lion and holding up 
a wreath. Inscribed below, SECU RITAS; above, Der Genius der Stadt 
Hannover hat sick auf den Britt; Lowen Salviert. Am Hause des Hofmaler 
Bamberg. 

Pen-and-ink; lOg X 8£ in. 

12. Two on one mount, roy., viz. : — 

(a) Britannia Rallying the Arts. Britannia with the genii of the Arts, 
to whom she points out a medallion with the monogram fr held above her 
head by floating cherubs ; a boy Mercury by her side crushes the French 
eagle. Inscribed [Britannia versamlet die Genien der Kiimte um . . 
[The rest cut off.] 

Pen-and-ink ; 9J X 5 in. 

(b) Sketch for an Illustration. A bearded man in classic robes seated by a 
tripod. 

Indian-ink wash and pen ; 7f X 9£ in. 

13. Two on one mount, roy., viz. : — 

(a) The Oath op the Youth of Hanover. Youths swearing on an altar. 
Inscribed above, WIR SCHWOREN TREUE DEM KONIGE U. 
VATERLANDE; below, [Ti&n]sperent am Hause des H ofmedicua . . • 
[The rest cut off.] 

Pen-and-ink ; 7 X 4 in. 

Engraved by J. Swaine. 

(6) Coriolanus Solicited by his Family. Volumnia and Virgilia kneeling 
1. show Coriolanus his child ; the Volscian tents behind. In a circle. 
Indian-ink wash and pen ; 4£ x 4£ in. 

14. Two on one mount, roy., viz. : — 

(a) Sketch for an Allegorical Design. Fame with a torch in one hand 
laying a wreath with the other on a medallion of the Duke of Cambridge, 
which two child genii are contemplating, one of them caressing a dog 
meanwhile. 

Pencil ; 6 J x 5£ in. 

(b) Sketch for the same Design. Fame looks down, and not up, as in tho 

preceding sketch ; and there is one child genius instead of two. 
Pencil ; 6| x 5£ in. 

15. Two on one mount, roy., viz. : — 

(o) The Mother's Tomb. Two children, one carrying a basket of flowers, 
approaching a tomb which stands r. ; over them hovers tho phantom of their 
mother. 
Indian-ink wash and pen ; 7£ X 4|j in. 

(6) Illustration to a Play. A man with a dagger putting aside a curtain to 
enter a room, where a woman, with two children clinging to her, sits and 
points to a youth dead by her side. 
Indian-ink wash and pen ; 7J X 4| in. 
Purchased February, 1863. 

16. Illustration to a Play or Story. A king, seated on a throne, threatened 
by a man who lifts a dagger in his hand, but is himself held back by a soldier ; 
at the 1. other conspirators with daggers, restrained by the king's guards. 
Signed and dated HZumberg 1785. 

Indian-ink wash and pen ; 7£ X 4$ in. 
Purchased February, 1863. 

17. Two on one mount, roy., viz. : — 

(a) The Resurrection. Christ rising from the tomb in glory; an angel r. 
adoring ; two soldiers in amazement 1. 

Indian ink over black chalk sketch ; 5 J x 3| in. 



Johann Heinrich Bamberg. 



191 



(6) Illustration to a Story. A woman with a bundle in her hand taking 
leave of her family, who are grouped weeping in a doorway, restrained by a 
soldier r. ; two other soldiers 1. ; a man mith a candle holds the door open. 
Indian-ink wash and pen ; oval ; 5§ X 7f in. 

18. Two on one mount, roy., viz. : — 

(a) The Flower Seller. A girl kneeling by a basket of flowers, making a 
nosegay for a boy and girl, whose parents stand near ; at the 1. a young 
beau, at the r. an old beau, each going off with a flower in his coat. 

Pen-and-ink sketch ; oval ; 6 X 8 in. 

(b) The Hero's Farewell. A youth in classical armour leaning from his 

horse to grasp the hand of an old man standing among a group of others, 
while beside him a woman kneels to caress a child; at the 1. a priest 
standing over a tripod, and men bringing a ram to the sacrifice. 
Indian-ink wash and pen; 7| X 12J in. 

19. Two on one mount, roy., viz. : — 

(a) Mother and Children. A mother seated near a pedestal, with a girl 
stretching across her lap to grasp the hands of a child at the r., while a 
baby climbs up 1. towards the mother's breast. 
Pen-and-sepia ; oval ; 3g x 4 in. 

(6) Study for a Portrait. "Whole-length figure facing to front, in peer's 
robes, with coronet on a table 1. Probably for a portrait of the Duke of 
Cambridge, but the features of the face are only suggested. 
Indian-ink and water-colour sketch ; 9§ x l\ in. 

20. Two on one mount, roy., viz. : — 

(a) Portrait Study. Bust of a lady, turned r., the face in three-quarters, 
eyes looking nearly full ; with hat and feathers, and hair falling over the 
neck. 
Indian-ink wash and pen ; circle, 4f diam. 

(6) Portrait Study. Whole length of a girl seated facing to front, with one 
hand raised to her cheek, and frilled cap. 
Black chalk sketch ; 9J x 7 in. 

21. Two on one mount, roy., viz. : — 

(a) Venus. Venus in her shell-chariot drawn by sea-horses, on the neck of 

one of which hangs Cupid. In an oval. 
Indian-ink wash and pen ; 4£ x 3£ in. 

(b) The Vow. A young man in classical dress kneeling and uttering a vow 

to heaven. 

Black chalk ; 8£ x 7 in. 

22. Three on one mount, roy., viz. : — 

(a) Figure Study. A youth dressed in a tunic, lying on his back on the 

ground. Signed Rmbg. 
Pencil; 3 x 6£ in. 

(b) Cupids. Three cupids or children playing. 

Pen-and-sepia sketch over pencil ; 2| x 5J in. 

(c) Cupids. Four cupids playing. 

Pen-and-sepia sketch over pencil ; 2f x 6J in. 

23. Three on one mount, roy., viz. : — 

(a) Study of a Horse with Fore-Feet Kaised. With a second study of the 
head. 

Black and white chalk on blue paper ; llf x 7| in. 

(6) Slight Study of a Horse's Head. 

Black chalk on blue paper; 3 x 2§ in. 






192 



Drawings of the British School, 



(c) Slight Study op a Horse's Mouth. 
Black chalk ; 2 £ x 2 J in. 

24. View in Pompeii. View at the intersection of two streets, looking towards 

Vesuvius, over which a slight cloud curls : at the junction of the streets is a 
frescoed fountain, which a traveller is contemplating ; in the foreground two 
workmen resting, and smiling at a naked baby held up by its mother ; another 
workman with hod and spade descends a lava slope from the r. 
Iudian-ink wash and pen, slightly tinted ; imp., 15£ x 19J in. 

All except No. 16 purchased May, 1877. 
[25-30] Drawings in the Burney Collection of Theatrical Portraits, purchased 1817. 

25. Mrs. Bulkelet as the Princess of France, in 'Love's Labour Lost,' 

Act. v. Signed and dated Etamberg, 1785, and inscribed Mrs. Bulkeley in 
Princ. of France. ' Twenty Adieus, my frozen Muscovites.' In an oval. 

Indian-ink wash and pen, slightly tinted ; 4g x 3 in. 

Engraved by Reading for Bell's British Library, 1785. 

See note on No. 9 of the drawings by James Roberts, for Mrs. Bulkeley's 
biography. 

No. 67 in Vol. II. 

26. Miss Phillips as Miranda in ' The Tempest,' Act i., So. i. Signed H. 
Bamberg, and inscribed Miss Phillips in Miranda. In an oval. 

Sepia and indigo wash and pen ; 4§ x 2J in. 
Engraved by Grignion, for Bell's British Library, 1785. 
No. 25 in Vol. III. 

27. Mr. Macklin as Shtlock in ' The Merchant of Venice,' Act iv., So. i. 
Signed and dated JRamberg del 1784. In an oval. 

Indian-ink wash and pen ; 3g x 2£ in. 
Engraved by Cook for Bell's British Library, 1785. 

See note on No. 29 of the drawings by James Roberts, for Macklin's 
biography. 

No. 39 in Vol. VI. 

28. Mrs. Siddons as Desdemona in 'Othello,' Act v., So. ii. Signed and 
dated IRamberg del 1785, and inscribed Mrs. Siddons in Desdemona, 'Alack, 
my lord, lohat may you mean by that ? ' In an oval. 

Indian-ink wash and pen ; 5 x 3J in. 

Engraved by C. Sherwin for Bell's British Library, 1785. 

Sarah Siddons, b. 1755, the greatest of English tragic actresses, appeared on 
the stage very young as Miss Kemble ; married William Siddons ; failed at first 
at Drury Lane, but made a brilliant success in the North and at Bath, and in 
1782 re-appeared triumphantly at Drury Lane, to reign without a rival till her 
practical retirement in 1812; d. 1831. 

No. 167 in Vol. VIII. 

29. Mrs. Wells as Lavinia in ' Titus Andronicus.' Signed and dated Romberg, 

1785, and inscribed Mrs. Wells in Lavinia, ' At this tomb my tributary tears I 
render for my brethren's obsequies. ' In an oval. 

Indian ink and slight tint ; 5| x 3J in. 

See note on Downman's portrait of Mrs. Wells, Vol. II., p. 39. 

No. 52 in Vol. X. 

30. Mrs. Wells as Imogen in Ctmbeline. Signed and dated II. Ramberg del. 

1785 ; and inscribed Mrs. Wells in Imogen. ' Gods and Goddesses ! These 
Flowers are like the pleasures of the world. Tim bloody man the Care on't. In an 
oval. 
Indian ink and slight tint ; 5£ X 3J in. 

No. 51 in Vol. X. 



J. Bathbone. — S. F. Ravenet. Read. — /. Record. 



193 



RATHBONE, John (b. about 1750, d. 1807). Landscape painter; born 
in Cheshire ; worked in Manchester, London, and Preston, both in 
oils and water colours, in a manner founded on that of Wilson and 
allied to that of Ibbetson, who with Morland was his intimate friend ; 
exhibited at the Royal Academy and other galleries, 1785-1806. 

1. View on Derwentwater. View looking across a bay to the craggy shore 
opposite, with a long low building on a woody islet under the steep bank; in the 
1. foreground a fisherman with a boy and girl and some cows on a tongue of 
land, and a boat with two figures moored by some trees further 1. Signed and 
dated J. Rathbone, Kilburn, 1788. 

Indian ink and water colours; roy., 11£ x 16| in. 

2. Travellers by a Lake. A lady and gentleman in a postchaise with postillion, 
coming from the r. along a road in the foreground which skirts a lake, bordered 
r. by abrupt hills ; on the highest and nearest crag is a ruined tower ; a ferry 
boat with cattle is nearing the shore. Signed J. Rathbone. 

Indian ink and water colours; roy., 11 J X 16f in. 

Nos. 1 and 2 were purchased May, 1870. 

3. Neab Keswick. Rising ground with a man and woman and cattle under over- 
hanging crags r. ; at the 1. a view over wooded slopes to the lake and mountains 
beyond. Signed /. Rathbone, Kilburn, 1788. 

Indian ink and water colours; imp., 11 J X 16J in. 

Purchased May, 1876. 

RAVENET, Simon Francois (b. about 1721, d. 1774). Engraver; born 
in Paris; pupil of J. P. Le Bas ; came to London 1750; largely 
employed by Boydell; engraved after Italian masters, Hogarth, 
Reynolds, etc. ; designed also for Chelsea china ; died in London. 

1. Porteait op Lord Camden, after Sir Joshua Reynolds. Whole length, 
standing in his robes, with r. hand on a large book held upright on a table and 
1. arm resting on the back of a chair. 

Pencil and black chalk, highly finished ; imp., 19 x 13| in. 

Drawing made from Reynolds' portrait of Charles Pratt, Lord Campden 
(b. 1713, d. 1794), Lord Chief Justice and Lord Chancellor, painted in 17b'4 ; 
engraved by Ravenet in reverse, and published by Boydell, 12 Aug., 1766. 

Purchased May, 1890, at the Percy sale. 

READ, — (worked about 1849). Draughtsman; biography unknown. 

[1-2] Drawings in the Crace Collection of London Views, purchased November, 
1880. 

1. White Conduit House Hotel and Tavern, from the S.W., 1849. 

Sepia ; 4 J x 6 in. 

No. 211 in Portfolio XXXII. 

2. Peerless Pool Bath and Gardens, City Road. 

No. 9 in Portfolio XXXIII. 



RECORD, James (worked about 1768-1780). Portrait painter; exhibited 
portraits with the Society of Artists and the Free Society, 1768-1780. 

1. Portrait of William Lenthall, Speaker op the House op Commons, 1654, 
after a medal by Abraham Simon. Bust in an oval ; in profile looking 1., 
wearing the Speaker's robes. 
Indian ink and water-colour tint ; roy., 5J x 3$ in. 
vol. ni. o 



194 



Drawings of the British School. 



2. Portrait of John Campbell, Earl of Loudon, after a medal by Abraham 
Simon. Bust in an oval ; in profile looking 1. ; 'wearing a skull-cap. 
Black and red chalk with Indian-ink wash ; roy., 5 x 3£ in. 
Both bequeathed by the Kev. E. M. Cracherode, 1799. 



REDGRAVE, Richard, R.A. (b. 1804, d. 1888). Painter; born in 
London ; studied at the Royal Academy ; painted both in oils and 
water colours, chiefly illustrations to literature, domestic subjects, and 
(especially during his later years) landscapes ; elected A. R.A. 1840, 
R.A. 1851 \ distinguished for his services in connection with national 
art education, and joint author, with his brother Samuel, of 'A 
Century of English Painters.' 

1. Study for the picture of ' Ophelia.' Ophelia seated, facing to the front, 
on a willow trunk, singing, with flowerB on her lap and in her hair. 

Coloured chalks and water colours ; roy., 9| x 7| in. 

The picture, exhibited in 1842, is now in the Sheepshanks collection at South 
Kensington. 

2. Two on one mount, roy., viz. : — 

(a) Study for a Picture ; Judge Gascoigne and Prince Hal. An arched 
composition. The judge rising from his seat, raised on steps at the r., orders 
an officer to arrest the Prince, who stands hanging his head, in the 1. fore- 
ground ; his servant, a prisoner, stands r. with bound hands, a jailor seated 
at his feet; a group of lawyers seen beyond, and citizens in a gallery 
beneath a window look on. 

Water colours and body colours ; 6J X 3§ in. 

(b) Study for the same Picture. An arched composition, differing in 

arrangement from the last ; the judge's seat is in the centre, with a window 
at each side ; the Prince and the other figures in the foreground are differ- 
ently costumed and in changed attitudes, and the jailor is omitted. 
Water colours and body colours; 7 J x 4 \ in. 

3. Two on one mount, roy., viz. : — 

(a) Study for a Picture ; ' The Deserter's Home.' The deserter asleep on a 
chair by a table, while his father and mother endeavour to rouse him, and a 
boy points through the open door r. to some soldiers approaching; two women 
standing by the table wring their hands ; and a grandmother sitting 1. goes 
into a faint, with two children clinging to her knees. 
Water colours and body colours ; 3£ x 5 \ in. 

(6) Study for the same Picture. A study similar in general arrangement, 
but modified in details. The deserter sits eating at the table, and his 
parents are urging him to hide himself, pointing to the stairs; the grand- 
mother is stooping over the fire, and the children are omitted. 

Water colours and body colours ; 4 x 5§ in. 

The picture was exhibited in 1847. 

4. Eight on one mount, roy., viz. : — 

(a) Small sketch for the 'Deserter's Home.' 
Pen and sepia wash; § x 1| in. 

(6) Small sketch for the 'Deserter's Home.' 
Pen and sepia wash ; 1| X 2 J in. 

(c) Study of a figure for the * Deserter's Home.' The deserter seated at 

a table. 
Pen-and-ink; 1\ x If in. 

(d) Study of a figure for the 'Deserter's Home.' Study for the boy 
opening the door and giving the alarm. 

Pen-and-ink ; 2 J x If in. 



Richard Redgrave. 



195 



(e) Study fob the 'Desebteb's Home.' Study for the composition aa 
described above, No. 3 (b). 
Pen-and-ink ; 4x5^ in. 

(/) Small sketch fob • Ophelia.' 

Pen and sepia wash ; If x 1 in. 

(gr) Small sketch foe ' Ophelia.' 

Pen and sepia wash ; 1£ x If in. 

(h) Small sketch fob 'Ophelia.' 

Pen and sepia wash; lj x 1 in. 

5. Study fob a Pictube. A lady seated on a low chair and looking 1. to some one 
not seen, her hands extended. 

Black, red and white chalk on brown paper ; roy., 13§ X 14 J in. 

6. Study foe a Pictuee. Study of a woman standing against a door with one 
hand pressed against it, and the other thrust through the bolt (? study for a 
picture of Kate Bar-Lass). 

Black and white chalk on blue-gray paper; 18 x 8| in. 

7. Gibl with a Pitches. A girl, bare-footed, with green dress, chequered apron 
and loose sun-bonnet, standing to rest a pitcher on a stone. Signed Bichd. 
Redgrave. 

Water colours ; roy., 8$ x 5| in. 

8. Pabk Scene. View over a wide meadow to a dense border of dark trees ; parallel 

with the foreground a line of flowering weeds marks the course of a stream 
crossed at the r. by a wooden footbridge with a stile. Signed Bichd. Bedgrave. 
Water colours; roy., 8| x 14§ iu. 

9. View on the Seine at Pabis. View from the water's edge looking across the 
river with one of the stone bridges quite near at the r. ; in the foreground a steam- 
boat pier with barrels on it, and three men at the 1. Signed Bichd. Bedgrave. 

Water colours ; roy., 8 J x 12 in. 

0. On the Downs, Hastings. An undulating stretch of grass broken in the fore- 
ground into sandy mounds and slopes, with scattered bushes ; white clouds in 
the blue sky. Inscribed Hastings and signed Bichd. Bedgrave. 
Water colours ; roy., 1\ x 13£ in. 

11. A Oountby Stile. A stile in the corner of a field with steps leading up to it, 

shaded by two elms 1., and flanked by palings r. ; trees in a field beyond. 
Water colours ; roy., 13| x 9J in. 

12. Intebiob of a Hall in an Old English Mansion. View looking down the 
length of a great room to a mullioned window ; at the left a bay with windowe, 
and beyond it a fireplace ; panelled and tapestried walls. 

Water colours; roy., 10 x 12£ in. 

13. View on a Kiveb. View looking up a river which flows between gentle slopes 
of meadow and wood, with rushy banks. Signed and dated, Bichd. B., 1846. 

Black, white and red chalk on bluish paper ; roy., 6| X 13| in. 

All presented by Mrs. Redgrave, September,-1891. 



% 



REINAGLE, Philip, R.A. (b. 1749, d. 1833). Painter; pupil of Allan 
Ramsay ; worked in London, painting portraits for a time, afterwards 
the animal subjects (dogs, birds, and dead game) by which he is best 
known, in later life also landscapes; elected A.R.A. 1787, R.A. 1812. 

1. Dead Pheasants. Group of five dead pheasants on the grass of a hillside, some 
of them hanging tied to the bough of a tree above. Signed P.B. 
Water colours ; roy., 9 x 7£ in. 

Purchased October, 1881. 

o 2 



196 



Drawings of the British School. 



REVELEY, Willey (d. 1799). Architect and water colour painter ; pupil 
of Sir W. Chambers, worked as architect and draughtsman with Sir 
Richard Worsley in Italy, Greece, and Egypt, 1784-89 ; designed a 
few churches and houses, but died young. 

1. View of Eeggio, Calabria. View of the town and hills behind from the Straita 

of Messina ; a rowing boat in the foreground. 

Water colours, witli pen-and-ink outlines ; imp., 12J x 21 £ in. 

2. Mosque of Sultan Jahir, Geand Cairo. Near view of the exterior of the 
Mosque ; a woman and a man leading two camels approaching from the 1. in the 
foreground. 

Water colours, with pen-and-ink outlines; atl., 18| x 25| in. 
Nos. 1 and 2 were purchased July, 1878. 

3. Arch of Trajan, Benevento. View of the arch, with a man giving grapes to 

a woman and child sitting by a wall r. 

.Water colours, with pen-and-ink outlines; atl., 22| X 18 J in. 
Purchased May, 1894. 



REYNOLDS, Sir Joshua, P.R.A. (b. 1723, d. 1792). Painter; born at 
Plympton, Devon; pupil in London of Thomas Hudson, 1740-43; 
worked in Devonshire 1746-49 ; influenced at first by the style of 
W. Gandy, afterwards chiefly by the great Venetians, Correggio and 
Rembrandt ; studied in Italy for two years, returning 1752 to London, 
where he worked for the rest of his life with great productiveness 
and success ; original member and first President of the Royal 
Academy ; the greatest portrait painter and one of the greatest 
colourists of the English school. 

1. Portrait Study of Miss Theophila Gwatkin, for the Picture Called 
' Lesbia.' Head and bust of a young girl in a three-quarter pose, turned 1., 
eyes looking down, eyebrows lifted with a mournful expression, and the 
hair escaping from a muslin cap tied with ribbon. Signed J. R. 

Crayons and stump ; imp., 18 x 12 in. 

Study for the picture of a girl holding a dead bird in her lap, called 'Lesbia* 
from Catullus' poem ; painted in 1786; it was engraved by F. Bartolozzi, 1788 
(also later by S. W. Reynolds), and now belongs to Sir Charles Tennant, 
Bart. Theophila Gwatkin was the daughter of Bichard Lovell Gwatkin and 
' Offy ' Palmer, Sir Joshua's favourite niece. 

Purchased February, 1902. Formerly in the possession of Laura C. Gwatkin, 
wife of General Steel, to whom it desceDded from Theophila Palmer (Mrs. 
G watkin), mother of the sitter. 

2. Portrait Study of Mrs. Robinson ('Perdita'), fob the Picture called 

' Contemplation.' Head in profile, turned 1. and looking 1. Signed J. B. 

Crayons on light brown paper ; roy.. 6 x 5 in. 

Study for the portrait of Mrs. Robinson as ' Contemplation,' now in the Wallace 
Gallery. The signature, originally in red chalk and gone over in ink, appears 
to be of later date. 

Mary Robinson, b. 1758, daughter of a sea-captain called Darby, became 
celebrated as an actress, and as ' Perdita ' attracted the attention of the Prince 
of Wales (George IV.), who made her his mistress ; deserted after a short time, 
she took to literature, for which she had shown some talent, her poems being 
popular in their day ; d. 1800. 

Purchased July, 1887. 



Sir Joshua Reynolds. 



197 



3. Study for the Portrait of Lady Gertrude Fitzpatrick. A child sitting 
on the ground, facing to the front, the head on one side and eyes looking r. At 
the r. a slight study for the head only, with a different expression, lnscrihed 
Sketch for the picture of Gertrude Fitzpatrick, by Sir J. Reynolds ( Welleslty 
Collection). 

Red chalk; roy., lBg x 11 \ in. 

From tlie Wellesley Collection. 

Apparently a first idea for the portrait of Lady Gertrudo Fitzpatrick sitting 
on the ground and holding a bunch of grapes on her lap, a picture well known 
in the mezzotint by J. R. Smith. 

4. Study for a Picture of a Nymph and Cdpid. The almost nude figure of a 
Nymph reclining on the ground with head drooped 1. With another slight 
Btudy for the head. 

Ked chalk; roy., 8 J x 11 J in. 

From the Wellesley Collection. 

Reproduced in Sir W.Armstrong's 'Reynolds,* 1900. 

Apparently a study for the picture called ' Venus and Cupid ' or ' Nymph 
and Cupid' (1759), or for a variation called' Nymph and Piping Boy.' Iu 
the picture the head of the Nymph is turned r. towards Cupid. 

Nos. 3 and 4 were purchased at the Breadalbane sale, June, 1886. 

5. Two on one mount, roy., viz. : — 

(a) Study for ' The Infant Hercules.' The child sits in his cradle facing 
to front and strangling the two snakes in his raised arms. 
Pencil and sepia wash on gray paper ; 7| x 6£ in. 

(6) Study for ' The Infant Hercules.' Differently disposed from the last 
study; the snakes are both at the r., grasped by the boy's hands, as he leans 
over to the r. iu his cradle ; half drawn curtain behind. 

Pencil and sepia wash on gray paper ; 7f x 7f in. 

In 178b' Reynolds received a commission from the Empress Catherine II. 
of Russia for an historical picture. He chose the subject of the infant 
Hercules strangling the serpents, as an emblem of Catherine*s heroic 
efforts in establishing the youthful Russian Empire, and painted a large 
picture, with Juno, and Tiresias, and other figures in the background. It 
was exhibited at the Academy in 1788, and is now in the Hermitage at St. 
Petersburg. Reynolds afterwards painted a single figure of the Infant 
Hercules, of which several versions exist. Neither of the present drawings 
represents the figure iu the attitude fiually adopted for both the large and 
the small picture. 

6. Ariadne in Naxos. Ariadne seated, with one hand resting on the shoulder 
of a sleeping Satyr, holds up in the other hand a cup, which a boy, standing ou 
the back of another Satyr, is filling. 

Red chalk; roy., 1\ x lOf in. 

Drawn on the back of an unfinished draft of a letter in Italian, probably 
by Nathaniel Hone, dated Firenze, 8 Gennaio, 1752. At that date Reynolds 
was still in Rome. The drawing seems to be a study from some Italian picture. 

Presented by the Earl of Cawdor, May, 184b'. Formerly in the Nathaniel 
Hone and Paul Sand by Collections. 

7. Academical Study. Nude figure of a man stooping down and pulliug at a rope. 

Black chalk; roy., 12^ x 8f in. 

8. Academical Study. Study for a Hercules ; the nude figure of a man moving 
from r. to 1., and bending down with one hand ou a block of wood, and a club 
in the other, resting on a lion's skin. 

Black and white chalk on toned paper ; roy., 18 J x 11 J in. 

9. Ob. Study of a Head. A man's head inclined to the 1. 

Black chalk ; roy., 17f x lOf in. 

Sev. Academical Study. Nude figure of a man seen in profile, holding a 
staff in one hand and with the other supporting a picture of the infant St. 
John with a lamb. 

Black and white chalk on toned paper. 



198 



Drawings of the British School. 



10. Landscape Study. View looking up an avenue ; roughly sketched. 

Brush drawing in hrown and Indian ink ; roy., 8 x 12g in. 
Nos. 7-10 were bequeathed by R. Payne Knight, Esq., 1824. 

11. Study after Rubens. A counterproof of the etching by Remoldus 
Eynhoudt, after the altarpiece ' Madonna with Saints,' in the church of St. 
Jacques, Antwerp. Inscribed Virgin dark blue, arbour green, sky grey. The 
whole length purple, black as possible ; all the rest warm. The Pope crimson, St. 
Jerom brown red, the flesh vermilion, Flag crimson, the waistcoat under the 
armour yellow. The dragon yellow. 

Red chalk and sepia over etching ; roy., 13J X 10 in. 

Purchased at the Russell sale, May, 1885. From the Lawrence Collection. 
A study by Wilkie after the same picture is also in the department. 

12. Sketchbook containing notes in MS. and sketches, chiefly from pictures, made 
at Florence, in the summer of 1752, and on the journey from Florence to Rome. 
Some only of the notes have been published, in W. Cotton's 'Sir Joshua 
Reynolds' Notes and Observations on Pictures,' the extracts being inaccurately 
transcribed, with omissions and additions of words, in neither case indicated, 
and put together in an arbitrary fashion. 

The inside of the cover contains what appears to be part of the draft of a 
letter, over which are jotted reminders for the journey : Buy Clothes, see 
Consul, Bookseller, Letters, etc. 

f. 1. Ob. Slight sketches; a caricature of a face and three sketches of a 
cloaked figure. Inscribed with notes, partly written over each other. St. 
Teresa, a Crucifix and the Scourging, is alone decipherable. 

Rev. May 3d 1752. O.S. Set out from Rome for Florence. Set out at 11 
of clock, arrivedat Castel Novo the first night, 18 miles. An inn only. May 4 
dined at Castellano [Civita Castellana], where there is a fine fortress — the 
architect l [sic] 14 miles from Castel Nuovo. Lay Narni, saw Augustus' 
bridge. — May 5. Lined at Terni, saw the Cascade, lay at Spoleto, saw the 
Aqueduct. — May 6. Lined at Fuligno, saw the Picture of Raffaelle in the 
Monasteria di Contessa, representing the Virgin Mary and Bambino, below 
on the right hand St. Francis and St. John the Baptist, and on the other a 
Cardinal kneeling profile another old man, one hand on the Cardinal's 
shoulder. — In the Road about two miles before you come to Assist is a little 
church on the right hand ; in it a good Picture. 

f. 2. Ob. Sketch of a man seated and holding up a crown and trumpet ; above, the 
facade of a temple. At the top by Battista Franco (presumably referring 
to the sketch, and perhaps continuing the text of the preceding page). 

Rev. At the Lomo at Madonna de li Angeli, a Picture of St. Francis sur- 
rounded with Glory, an Angel with many wings. — Ln the same church on the 
other side a Salutation by Barocci, the same as Cardinal Secretary. — Lay at 
Assist, 2 mile out of the way from Madonna deli Angeli. In an antique 
Temple of Minerva an Entablature supported by 6 Corinthian Pillars. A 
portico fine Tast. Steps 4 or 6. In a church they have the body of St. 
Francis of Assisi. — May 1th. Lined at Perugia. In the church of St. 
Lorenzo? the Lescent from the Cross by Barocci, the Print at Vierpili's. 

f. 3. Ob. Sketch from a picture of the Entombment. At the top by Battista 
Franco. 

Rev. L 0, The Marriage of the Virgin by Pietro Perugino. An Infinite 
number of his Pictures about Perugia. — St. Agostino, the Virgin, and Bam- 
bino in the Clouds crown 'd by Angels, on one side below a woman Saint and 
St. Lucilia with her eyes on a plate, on the other St. Agostin. 3 — Jiesu, in the 
Sacristi, a fine picture of Barocci, the Virgin taking water out of a Brook 
with a silver dish. St. Joseph gathering cherries for the Bambino, who is 
receiving them. 

1 The name is omitted. The architect was Ant. da Sangallo. See Vasari, ed. Sansoni, 
IV. 279. 

2 The Cathedral, where Baroccio's picture still is, in the Cappella di San Bernardino. 

3 The Virgin and child with S. Lucia and S. Antonio Abate, in the Cappella di S. Lucia 
of this Church, is by Antonio Viviani, detto II Sordo, a pupil of Baroccio. 



Sir Joshua Reynolds. 



199 



f. 4. Ob. Sketch from a picture of the Erythraean Sibyl. At the top Eriteria 
A sibil by Cherubin Albert [Cherubino Alberti]. 

Bev. Sketch of a kneeling peasant woman. Below, a slight sketch of a 
fortilied village on a hill. 

f. 5. Ob. Sketch of a gate of Assisi from outside the town. Gate of Assist. 

f. 6. Ob. Sketch of a mother suckling a child, with another at her knee. At the 
top A Mon 1 designed by Bernini. 

Bev. Lay at Perugia. From thence to Montecca very bad road. May 8th. 
Dined at the inn close on the border of Lago di Perugia ; left Cortona on the 
right. Lay at Montecca. — May 9 dined at Arezzo. Saw the best of Barocci's 
works, a picture representing the Virgin interceding with Christ in the clouds 
for a number of people below : amongst the rest a profile of a Lady, a Por- 
trait, perhaps hers for whom the picture was painted. Some angels and wom> n 
and children wonderful genteel, the Virgin is a fine figure. The church of St. 
Maria delta Pieva. In the same church many Pictures of Vasari. 

f. 7. Ob. the great altar behind and before with many little Pictures extremely well 
Painted and good keeping in them, the Picture at the Back of the Altar is 
St. George and the Dragon, a dead figure under the horse, the body a skeleton. 
Vasari' s portrait with his son on one side and on the other his eldest son & wife 
as in devotion. The confraternity of St. Boch have a fine Picture of their 
saint by Vasari, the best of his works; other side a Miracle finely Painted. 

Bev. Past the Arno. Lay at Lavane [?] a little village.— May 10. past village 
Monte Varco, filino, L. Ancisi [Montevarchi, Figline, Incisa], and dined at 
Pian del Fonte. Arrived at Florence. Chiesa Santa Croce. A descent 
from the cross by Salviati. Christ with the flag relieving the people out of 
Limbo — Naldini — A deposito. A Boy on each side, the heads admirable by 
Benedetto di Settiniano. A chapel that you go to through the Cloisters 
admirable for the Architecture by St. Sevillo [San Sovino? — It should be 
Brunelleschi, architect of the Cappella de' Pazzi]. 

f. 8. Bev. Draft of a letter (crossed out). Another thing I shall get [or] I am much 
deceiv'd a considerable sum of mony at Wertemburb, if so I shall have that 
lay out at (Dresden crossed out) Brussels for my sisters. I remember it used 
to be a continual subject of Discourse of my Fathers when he discoursed on 
Education not to be in too great a hurry to show oneself to the world but to lay 
in first as strong foundation as possible of knowledge and learning ; this may 
very well be apphfd to my present affairs; by being in too great a hurry 
perhaps I shall ruin all and arrive at London without reputation & nobody 
that has ever heard of me, when by staying here a month extra-ordinary my 
name will arrive before me, and as I said before nobody will dare find fault 
with me since it has had the approbation of the greatest living Painters. 

f. 9. Ob. Four slight studies of ladies' heads. 

Bev. Draft of the letter continued. — Then on the other hand there is such 
pressing reasons for my coming home that I stand as between two people 
pulling me different ways, that I stand still and do nothing, for the moment I 
malce a resolution to set out and in a manner take my leave of my Friend they 
call me madman for missing those advantages I have mentioned. Some friends 
which I have here at Florence who endeavouring to persuade (to stay crossed 
out, me not to written above, then also crossed out) a month longer, on my 
telling them which I could not tell them, have said that was there such calls as 
obliged me to England, they would go and return again. 

f. 10. Ob. Sketch from a portrait of a lady, whole length, from a picture. 

Bev. Sketch from or for a half-length portrait of a young lady. Florence. 

f. 11. Ob. Sketch from a portrait of a lady with a fan, whole length. Sleeve 
marked 1, and skirt marked 2. 1. White satin. 2. Do. covered with gauze. 

Bev. Florence St. Marco. Two altars by Frate [Fra Bartolommeo] the Copy from 
the St. Mark which is P. Piti the original formerly stood here. — St. Pietro a 
vault by Gabiani. — St. Maria Novella, is the first Picture ever Cimabue 
painted in colours ; in the cloister the works of the Grecian Painters [frescoes 
by Uccello and others in the Chiostro Verde] & many of Gerardino. — Ones 



200 



Drawings of the British School. 



[Ogni] Santi in the Cloisters many admirable of Joanne de St. Joanne & of 
Bosci, of which I made some sketches ; the Portraits of the Cardinals by Bosci 
extremely well painted round the Cloister. 1 

f. 12. Ob. Three studies, from pictures, of women's costume. 

Rev. The Bridge with Cycloid Arches [Ponte S. Trinita], one of the Seasons 
a woman by Francavilla, the other by the Cicici [Oac ini] the same as did the 
statues in Pietra in the Boboli. — Palazzo Giacuiuini, Architecture of Michael 
Angelo? — St. Maria Maggiore sfondo di Sotteraneo, Elia & Eliseo — Palazzo 
Altoviti the Portrait of Baphael, his own. — Palazzo di Marchese Gerini. 3 
The famous Portrait of Rembrandt in armour. A Picture of Paul Veronese, 
a slittch of Rubens. — A St. Sebastian by Guido, a slit ear. 

f. 13. Ob. Three studies of drapery and head-dresses of women, from pictures. 

Bev. In the Gallery the best head for sculpture is the Cicero with a wen on 
the left side of the face about the bottom of the line by the nose. A Bacchus of 
Michael Angela. A faun. A Baccante opposite with fruit in her lap. — A 
Flora, perhaps a Victory, with one [hand] raised above her head, floioers in 
it. An Antique Baccus and faun. — A Pan, a Bust. — Bernini's Mistress. — 
Brutus before (?) — Annius Verus young. — A Venus washing her feet. — 
Ganymede and the Eagle. 

f. 14. Ob. many of Spagnolet. Hercules and Omphale by Gordano [L. Giordano], 
Sketch of a lady seated, either from life or from some contemporary French 
print. 
Bev. On the left hand of the gallery, as you enter, the Boor and the copy of 
the Laocoon. A Bacchus. Mr. Huckford* told me he had sold a fine head a 
young man pictoreshe hair, etc., to Mr. Demer, of Bronzino t l . He has a 
good collection of drawings, principally the Florentine Masters. At a 
sculptor's shop which was formerly that of John de Bologna is a Gess of one 
of the slave[_sy belong\\Tig] to Pedestal at Leghorn, that done by John de 
Bolognia, and Models for two of the figures belonging to the fountain in the 
Boboli — admirable — and a Model for the Bape of the Sabines besides other 
admirable Gesses in fine [word illegible] after figures in the Gallery. 

f. 15. Ob. Sketch of a lady seated, tying her garter ; the same figure as that 
sketched on f. 14, Ob. 
^Reproduced in Armstrong's ' Reynolds,' p. 220. 
Bev. Florence. In the Boboli 2 Blind men fighting, the one is beating a 
stone instead of his Antagonist who is behind it. The drapery, hands. — An 
old man with a young one in his arms, admirable. 6 — A hunter amongst the 
bushes with a hare in his hand, round the great fountain, genteel. — Tlie Great 
Fountain is by John de Bologna — a Neptune with 3 lying figures, 2 men and 
one woman, Ganges, Nile and Euphrates. 12 Bracii Diameter. The bazon 
is 36 Bracii round. — In another Bason or Vivajo a Neptune Bronze many 
gay monsters about him in marble by Stoldo Lorenzi. 

f. 16. Ob. Sketch of a lady seated on the ground ; the same figure as on ff. 14, 
Ob. and 15, Ob. 
Bev. (Memorandum crossed out ; Florence. The Grotto [in the Boboli 
Gardens, by B. Buoutalenti]. — Statues abbozzate by Mi. Angelo, which was 
design' d for the tomb of Julius 2d. The vault painted by Bernd. Poccetti.) 

Ei the Palazzo Pitti the Lower Apartments. A Hermit letting the beer 
out in the cellar by Volterrano, dark figures on a light ground, viz., light 
white sky and light buildings. — The first Apartment below painted by Joanne 
di St. Joanne. 

1 The reference is to the five lunettes by Giovanni di San Giovanni, and the portraits of 
famous Franciscans by Fabrizio Alfonso and Francesco Boschi ; the rest being by Ligozzi 
and others. 

2 In the Via Tornabuoni. It is attributed to Giovanni Antonio Dosio. 

3 In the Via del Cocomero. Guido's ' St. Sebastian,' and an ' Annunciation ' by P. 
Veronese, are mentioned by Ciuelli, Bellezze di Fircnze, 1677, pp. 496 aud 500. 

4 Ignazio Hugford, the English painter and connoisseur, who was born and worked in 
Florence. 

4 The four slaves in bronze at Leghorn are by Pietro Tacca. 
6 The statue of Winter, of which there is a sketch on f. 37 Ob. 



Sir Joshua Reynolds, 



201 



f. 17. Ob. Sketch of a female figure in diaphanous robe, perhaps for a figure of 
Fiora. 

Rev. Palazzo Piti. On the left "hand 1st Boom 5 Battles Borgonione. 5 
nymphs surprised by Satyrs ; Rubens. — 3 Historys by Livio Meius, that of 
the Triumph of Baccus and the woman presenting victuals to a General, 
Minerva above driving off Envy; admirable. Do. 2d. [Room] Virgin & 
Christ sitting under a Tent. 4 Saints and angels flying, two on the ground, 
singing with a slip of paper with notes on it [Madonna del Baldacchino, 
No. 165]. Raffaele. — Virgin, B. [Bambino] & groups of angels; admirable 
by Parmeg [No. 230]. — V. A B. with many saints by Rossi [II Rosso, No. 237] 
formerly in the Santo Spirito. 

f. 18. Ob. Sketch in the Boboli gardens. Above Palazzo Piti. 

Rev. Piti. V. & B., St. Joseph, St. John Batista, and one in armour, 
perhaps St. George, with a little dish in his hand : Correggio ; his first 
manner. — C. on a pedestal, the 4 Evang. under, by F. Bartolomeo. — God the 
Father above in small holding Christ on the Cross, 6 Saints under, as large 
as life, by Sarto. — Salutation by P.V. [Paul Veronese]. — Cain & Abel, 
Titian. — '3rd Room ; 2 Assumption of the Virgin, the twelve Apostles below, 
in one [of] them there is a Nun & a priest besides the 12. — St. Mark the 
Evang. by Barto. [Fra Bartolommeo]. 

f. 19. Ob. Slight sketch of an arch. 

Rev. In St. Francesco Riva torto ['?] the mass of light comes on the Virgin 
Mary, the Cltrist and Angel behind, on the face of the Nun and on the foot 
of the Virgin : perhaps it is painted by Mario Cassinassi or Velassi. 

f. 20. Ob. Sketch from the picture described by Reynolds on the preceding 
page. 

Rev. Piti. Do. 5th Room. A Castilion [Castiglione], a Calf as large as 
life.— 6th Room, Madonna della Seduta [tSeggiola, No. lol], RaJJiele. — 
Madonna St. Joseph St. John & Bamb. by Rafjiele. 

Below, a sketch from the last mentioned picture, known as the Holy 
Family ' Under the Oak ' or ' With the Lizard.' It is a repetition by Giulio 
Romano of the original, which is at Madrid. 

f. 21. Ob. Sketch from a picture of the Agony in the Garden. In the church at 
the foot of Assist. 

Rev. In the Mezzinio [? Mezzanino], Falaz. Piti. A painter's Port, on the 
Easel. A Head by Correggio. A first thought for the Transfiguration. — 
Piti. Do. 6th Room. Holy Family viz. St. Elizabeth, V.M.B., St. John, 
another St. perhaps St. Katerine. Rafjiele. 

Sketch from the last mentioned picture, the ' Madonna dell' Impannata.' 

f. 22. Ob. Sketch of an ancient gate. A gate at Perugia. 

Rev. Piti. Do. 6th Room. V. & B., St. John & St. Eliz. by Sarto. Clirist 
St. Peter & St. John in the clouds, 4 saints below by Annibale. The Resur- 
rection of a dead Person by a Saint, by Guerci.no, of which a Print by 
Blomart. — A Holy Family by Rubens. A Print by Bolswert. — Salutation by 
Sarto. — Abraham and the burning Bush by Bassan. — Adam bewailing the 
death of Abel, by Cigoli. — Many Holy Familys, etc., by Raima Vechio, 
Titian, &c, none considerable. 

f. 23. Ob. A man seated sketching ; in profile. Probably Nathaniel Hone. 

Rev. Sketch of the Trasimene Lake. Sea Greeish (greyish ?) Island and 
land black, path pur pleish. 

f. 24. Ob. The same sketch continued and completed. Lake of Perugia. 

Rev. Piti. Do. 6th Room. A History by Sarto. — Gypsies. —1th & last 
Room. Mars detained by Venus. By Rubens. — A Charity by Guido. — 
Christ & B. Mar. in the clouds and an Angel by Guercino. — Cleopatra, Guido, 
with an asp. — Resurrection of Lazarus by P. Veronese. — Baptm. of Christ by 
Do. Crucifix Do. 

f. 25. Ob. Sketch of a hor^e drinking at a trough. 



202 Drawings of the British School. 

Rev. Pitt. Do. 1th Room. Christ giving the Tribute mony by Titian. 
Conversion of St. Paul by Tit/an. —Elixha lifted up to heaven by Angels a 
Bui anQ Lron, by Raffiele [the Vision of Ezekiel]. The history of Joseph in 
two Pictures by Andrea del Sarto. — V. Bamb. & St. Joseph & Si. Katherine 
by Paid Veronese. — Many fine Bassans — 9 Muses and Apollo dancing by Julio 
Romano — Salutation by Sarto with the Glory between. 

f. 26. Ob. Sketch of Ruin and trees, probably near Perugia. 

Rev. Piti. The 3 Destinies by M. Angela [No. 113 ; by II Rosso]. Holy Family 
& St. John by Annibal Caracci in small, neatly finish[ed], of Virgin Mary & 
Christ & St. Joseph by Raffiele. — A Part of the famous Picture of the Baccns 
& Ariadne in the Pamphili at Rome — On the Right hand as you enter the 
Palazzo Piti 5 Vaults Friezes and all the ornaments designed by Pietro di 
Cortona, the first is the best where a young man is snatched aivay [continued 
f. 27 Rev.]. 

f. 27. Ob. Two sketches of Lake Trasimene, with notes. The colour of Clouds. 
Green Light. 
Rev. from Venus by Pallas. Piti. No pictures but those in Fresco in the 
1,2 & 3d Room. In Mh is a Copy by Barocci after the famous holy Family 
at Parma of Coreggio. — A descent from the Cross by Cigoli. — A St. Sebastian 
of Titian — A Magdalen naked by Furino — 5th Room, Virgin Mary and 
Bamb. on a pedestal, 2 angels supporting her legs. St. Anthony and St. John 
on each side, the best of all the works. A. d. Sarto. 

f. 28. Ob. Sketch of a young girl seated on a bank. The lower part of this page 
was cut out before the book came into the Museum collection. 

Rev. Piti. Opposite. A holy Fam. by Barocci — A Pieta by Cigoli — A Holy 
Family by Titian like that of Raffiel in France, the St. Joseph the same 
hand. Admirable Painted — 2 of Titians Mistress when young and old. 

f. 29. Ob. Sketch of a woman with two children ; parts of the drapery 
numbered, with the explanations. 1. Yellow Damask. 2. Yellow heightened 
with light blue. 3. Red lights almost white. 4. Yellowish, striped with blue. 
Below, Barocci at Anversa. 

Rev. Piti. Leo 10 I believe it is (corrected in ink to Julius 2). Do. — 
56 more Portraits Do. — Christ Portrait Do. Little Holy Family Do. — V. B. 
& 2 Angels Do. — Christ with a globe Barocci — Frederic Duke of Urbin when 
an Infant ; Barrocci — Mary Magdalen, Titian ; an immense deal of hair, 
but painted to the utmost perfection — A Portrait said to be Raffiels by Sarto or 
Julio Romano — In the little Room many of Carlo Dolci, a Salvator Rosa, a 
St. showing the Cross to a grotesque figure. 

f. 30. Ob. A woman with a child on her arm. Barocci at Anversa. 

Rev. A female figure, whole length (St. Elizabeth ?). An ordinary Picture in 
the Santo Spirito at Florence. 

f. 31. Ob. Sketch from a statue of a girl washing her feet. The Great Duke's 
Gallery. 

Rev. Church of the Carmine. A Chapel Painted by Masaccio. Raffiele has 
taken his Adam and Eve driven out of Paradise from hence, the heads accord- 
ing to the ancient custume are Portraits and have a wonderful character of 
Nature. In the left cross of the church. 1 
f. 32. Ob. Sketch from the same statue as that on f. 31, Ob., but in profile. 

Rev. Piti. This part of the Palace you must ask to see. 2 vast Large 
Pictures of Rubens, 2 one represents] the Battle of the same King that he has 
celebrated in the Luxemburg Gallery; the other his Triumph where he is 
drawn in a sumptuos Car with an olive branch in his hand stretched out 
crowned by Victory. Slaves follow, Trumpets, &c. A Triumphal Arch — At 
the other he is on a Bay horse with lightening in his right hand striking on 
another who is on a white horse and who makers] the Principal light ; the 
figure on the white horse is painted very light not to break the mass, and 
between the horse's head and legs there is a [contiuued on f. 35, Rev.] 

1 Actually, in the right transept. 

2 Now in the Uffizi. 



Sir Joshua Reynolds. 



203 



f. 33. Ob. Sketch from a portrait of a man seated with his head on his hand. 
Portrait Bronzino in Palazzo Corsini at Florence. 

Rev. Florence Palazzo Nicolini. Time spoiling (ruining written above) 
Beauty, by Volterrano, pulling her by the hair. St. Agnes with a lamb, by 
Guido, the lamb wonderfully softly painted. St. Chatarina by Sarto, 
Portrait-like. Mary & Bamb. Do. — Two in fresco by Joanne de St. Joanne, 
Virgin Mary and Bambino, by Rafliele, Very good, his second manner. Guido 
St. Agnes. Sketch from the last mentioned picture. Below, a note to the 
picture by Volterraneo, one may add love flying away. 

f. 34. Ob. Candle — 4 Horses — 2 whole columns (Bib written above) of oriental 

ala [baster ?] Altar Gothick old and new Baptistery, the History of 

St. John in Bronze by St. Sevino, the bason is all of Jasper of Sicilia. St. 
John at the top a good figure — the one of John Baptist of the Bisputa [?] 8 
Columns of (Bianco written above) Nero ant. 

Rev. Florence P. Niccolini. Otia si tollas periere Cupidinis arcus. Virtue 
with the Sun in her brest, Laurel round her arm, with wings, destroying 
idleness who is sleeping. Cupid, his bandage above his eyes, breaking his bow ; 
poppys and vases by. Scene, a Grotto. 

f. 35. Ob. Sketch of an angel, and of two old men reading out of a book. The 

hospital of St. Maria Nova. 

Rev. [Continued from f. 32 Rev.~\. Pitt, light figure not to spoil the form 
of tlie Mass. The kings make a dark Mass ; behind them two figure[s] dark to 
carry off the mass of dark gradually.— 3 Portraits of Vandike. In one 
Picture is the Portrait of King Charles & his Queen; in the other a Profile of 
a woman in white satin. — Part of the Cupola of Parmegiano at Parma. 
St. John surrounded by Angels a large Picture of the Frate [Fra Bartolommeo] 
viz., the V. with many saints — a large Picture by Paulo — two of Livio Meius, 
one [continued on f. 36 Rev.]. 



f. 36. Ob. Sketch of a woman with three children, one on her lap. 
St. Maria Nova. 



Hospital of 



Rev. [continued from f. 35. Bev.~\ of them a sacrifice, the other figures going 
into a Boat, perhaps the Rape of Helen. — Hercules resting on his Club, by 
Guido. 

f. 37. 06. Sketch of a statue of Winter, an old man with a youth in his arms. 
Boboli. 

Rev. A mother and child bathing. A Print at Scoli's. 

f. 38. Ob. Sketch of a statue in the Boboli Gardens. Boboli. 

Rev. At Ferrara. The manner of drawing a leg of Christ not disagreeable ; 
small in the small; small long foot. Church of St. George, the martyrdom of 
St. Lorenzo by Guercino. — Stimate ; the high Altar St. Francis receiving the 
Stimate ; Guercino. — In a large Piazza a Pillar of the Corinthian Order, on 
the top of the capital sits in Bronze in a Chair Alex. Oak Branches winding 
round the Column. 

f. 39. 06. Sketch from a statue in the Boboli Gardens. Boboli. 

f. 40. 06. Ferrara. Sto. Spirito, the Interment of Christ. Caravagio. The lowest 
Ideas of Character possible to Imagine, otherwise not ill executed. Slight 
sketch of a statue on a high pedestal in a garden. 

Rev. Sketch in the Boboli Gardens. 
f. 41. 06. The same sketch completed. Boboli. 

Rev. Sketch of a head, afterwards crossed out. 
f. 42. 06. Sketch from a statue. 

Rev. Landscape sketch ; house and trees. 

f. 43. 06. Sketch (from a picture) of a group, with a gentleman handing a lady 
into a boat. Above Borgo Allegria ; below the greater Mass and the lesser 
against the two sides of the picture. 

Rev. Sketch from a portrait. 



204 



Drawings of the British School. 



f. 44. Ob. Sketch from a picture of a seated sage. 

Rev. Sketch from a picture of a figure on horseback. 

f. 45. Ob. Sketch from a picture by Giovanni di San Giovanni. Apollo & 
Phaeton, Jo" di San Jo e . White Drapery. 

f. 46. Ob. Apollo, Pan & Midas. Jo e di San Jo e . Sketch of the three figures 
and a sketch of a seated figure. 

Rev. Sketch from the group of Ajax and Patroclus. Antique in P. Piti. — 
Satyrs surprising the washerwomen. Slight sketch from the last composition 
(by Giovanni di San Giovanni). 

f. 47. Ob. Jo. di San Joanne : Narcissus. Sketch of a woman, child, and dog at 
a well. Sahjrs carrying off the washerwoman, a Satyr Galanting him ivith 
the Gown. Slight sketch of the last composition. 

Rev. Sketch from a fountain with a boy on a dolphin. Jo. di Bologna 
Piti. 

f. 48. Ob. Slight sketch of a group of figures from a picture. 

Rev. Sketch from the fountain with the Boy on a dolphin. 
in P. Piti. 

f. 49. 



John, di Bologna 
Vandyke, Gallery, 



Ob. Sketch from an equestrian portrait of Charles V. 
Florence. 

f. 50. Ob. Sketch from a group of the Three Graces. Piti. 

f. 51. Ob. Sketch from a female figure in a picture — 1, Yellow Damask. 2, Purple 
Bronzino, Sanio Spirilo, Florence [Christ appearing to the Magdalen, 
now in the Louvre, No. 1183]. 

f. 52. Ob. Sketch from a figure in a painting in the Carmine. In the church of 
the Carmine at Florence; a death-bed ; this figure turns from the Bed and the 
company to weep. An old picture before Raffiele} 

f. 53. Ob. A girl seated, with a rabhit. Palazzo Piti, the first Room. 

f. 54. Ob. Sketch from Paul Veronese's portrait of Daniele Barbaro in the Pitti 
Palace. Titian. 

f. 55. Ob. Slight sketch from Raphael's portrait of Leo X. Raffielle. 

Keversing the volume, we find : — 

f. 78. Rev. Caricature sketch from life : four men drinking at a table. 4 shirts, 
1 pr. of stockings, 1 handkerch., 2 slocks. 

Ob. The Ground Colour Blue Black and White, light; first sitting the 
features mark' d firm with Red; next sitting the red colours. Blue Black, 
Vermilion, Lake, Carmine, White, drying Oil. 

f. 77. Rev. Sketch in a garden. 

f. 76. Rev. Sketch from a grotesque Sphinx. 

f. 75. Rev. Sketch in a garden with cypresses. 

f. 74. Ob. Sketch in a garden. 

f. 73. Rev. The last subject completed. 

f. 72. Ret. Two sketches. Nathaniel Hone in a landscape, standing with feet 
wide apart, and drawing in a note book. Master Hone. Sketch of a hill- 
side and distant house. 

f. 71. Rev. Sketch from a hand, In a Portrait, P. Piti. Slight sketch of a 
horse feeding. Sketch of an artist (probably N. Hone) seated drawing. 

f. 70. Rev. Sketch at Narni. Bridge of Augustus at Narni. 

f. 69. Rev. A woman holding a child ; sketch from a picture. Unknown, Fuligno. 

f. 67. Page torn out except for a strip at the tup, inscribed 26/7t Nov. 1835. 
Poor Boy ; sketch sent to Mrs. Acton. — jR. L. Gwatkin, the Husband of 
Theophila Palmer, Sir Joshua Reynolds' niece. 

1 No longer in the church, and probably destroyed by fire. Reynolds' iudifference to 
the works of the pre-Raphaelites has been much commented on; but thii sketch aud 
memorandum have been ignored by all his biographers. 



Sir Joshua Reynolds. 



205 



f. 66. Rev. Landscape, with castle in the distance. 

Ob. Rough sketch of a group in a boat. 
f. 65. Rev. Sketch of a tree. 
f. 64. Rev. Sketch of a tree. 
f. 63. Rev. A one-arched bridge, 
f. 62. Rev. Sketch of a grotesque ornament. 

f. 61. Rev. Sketch from a fresco. Above, By Gerardini 1 in Palazzo Corsini, 
Florence. A figure of a woman sleeping on a Garment star'd, in a chariot, 
ash-colour, drawn by Owls with Bats : the half moon influencing : A Boy 
crowning her with poppy— faint whiteish colouring. 

Ob. Florence. Ospedale di St. Maria Nova. Judicio universale di 
(Pietro Perugino crossed out) Fratre Bartolomeo. 2 — Una Carita di Joanne 
di St. Joanne. — Joanne di St. Joa. & Volteranno erano Scholare di R. M. 
Roselli. — Annunciata ; in the church a portrait of Christ, Qy. by Andrea del 
Sarto. On the right hand a vault by Volteranno. In the Cortile 7 pieces in 
Fresco by Andrea del Sarto. 

f. 60. Rev. Sketch of a grotesque ; dolphin's head. 

Ob. The Cloisters. The Madonna del Sacco by Andrea. All the pictures 
on each side are by Pocetti,\ the 2 other sides opposite are Salimbeni & 
M. Roselli except tivo on the further side from the church and the worst, which 
were done by a Fryar of that Convent, a more dry manner than the rest ; one 
representing the miracle of the Painter. 

t The best of him is of the child brought to life that was droun'd, his 
brother by him, who [is] held by his mother, which is an admirable figure ; he, 
the brother, is weeping; his apron is full of Flowers, folded we'll, as his 
breeches, and the woman that holds the dead child admirable drawn & colourd 
The two naked figure[s] are equal to Annibal Caracci, was the opinion 
of Gabriani; the Laying the foundation of the Church is another admirable 



f. 59. Rev. The Portrait of Ventura Salimbeni in fresco in cloister of the Annun- 
data at Florence. Sketch of the figure (? from one of the four lunettes bv 
V. Salimbeni). J 

Ob. Florence. In the Piazza of the Annunciata 2 admirable Fountains by 
John di Bologna [really by Pietro Tacca]. Fishy heads, fins instead of 
whiskers. He had much the same Genius as Michael Angelo. — Piazza before 
the great Palace [Palazzo della Signoria], a Large Fountain. All the 
Bronze by J. de Bologna [really by Ammannati] ; the Rape of the Sabines, 
do. A Basrelieve in Bronze under it by Do. A Grand Duke on horseback Do. 
Basrelieve under by Do. On each side the door 2 colossal statues, one by M. 
Angelo and the other by Baccio Band*. — The Centaur & Hercules by J. de 
Bolognia. — A Pedestal Basrelievo by Bacio Bandinelli. 

f. 58. Rev. Sketch from a picture of a mother giving her child to drink from a 
pitcher. Pocetti. 

Ob. Florence. Gardens of Boboli. Figures in Pietra. Some Caricaturas 
admirable for the character of nature by Gio. Caccini. — A Venus, Admirable, 
in Marble. — Some other Figures of the Seasons very good. — On the beautifull 
bridge [Ponte S. Trinit a] the arches oval and that looks as light as if 'twas 
made of silver, 4 good statues representing the four seasons, Winter by a Man 
naked shivering, like the works of Taddeo Landini. Autumn and Summer 
by Giovanni Caccini, Spring by Francavilla, disciple of John de Bologna. 

f. 57. A man and boy holding a picture, or mirror, between them. Pocetti. An 
angel playing on the triangle. Pocetti. 



1 Gherardini painted a number of ceilings in the Palazzo Corsini. The one described 
is not to be found in the rooms shown to the public. 

2 A fresco transferred to canvas, now in the Uffizi. The next-mentioned picture, by 
Giovanni di San Giovanni, is still in its place. 



206 



Drawings of the British School. 



Ob. Florence. A Soldier with a naked figure dead in his arms. 1 Antique 
and finely group'd which the Ancients seldom observed. John de Bologna lias 
been superior to the whole world ancient or modern in this respect at least, 
as well in Statues as in Basrelievi. — Capella di St. Lorenzo : the four lying 
figures of Michael Angelo, with a great Duke likewise by him. When I am 
here I think M. A. superior to the whole world for greatness of tast ; when I 
look on the figures of the fountain in the Boboli of which I have seen the 
Models I think him greater than M. A. ; and I believe [it] would be a difficult 
thing to determine who was the greatest Sculptor.— The same doubt in regard 
to the Vatican (and the Capella Sistina ; these last 'words on f . 56. 06.). 

f. 56. Rev. Sketch from a picture ; a -whole-length figure of a man in slashed 
doublet, hat in hand. 

Ob. Sketch of a number of figures grouped together. Florence. 

f. 55. Rev. Sketch of two female figures, one a girl, the other figure only partly 
suggested. Pocetti. 

f. 54. Rev. Sketch from a picture ; a man standing by a horse, with a dog. 
Above, a head of a man in an oval. Boschi. 

f. 53. Rev. Three sketches of figures from pictures. Boschi. 

f. 52. Rev. Sketch from a picture ; a company at table. Joanne di Joanne. 
Above, a portrait head in an oval. Bosci. 

f. 51. Rev. Sketch of a man holding a sword and dagger. Joanne di Joanne. 
Above, a head in an oval. Bosci. (These portrait heads are probably from 
the Cloister of Ogni Santi.) 

The last leaf of the book is occupied with traveller's jottings for the journey 
from Florence to Venice. 

f . 79. Ob. Breeches made — not forget sheet — Breeches mended — pay washerwoman- 
Pay Wilton for Vierpili — Hat — Spada — Cappello — Baule — Scatola — Stivali 
— Ganestra — Cane — Umbrella — Fabrij Peruquiere in Piazza di St. Marco, 
Venice. 

Rev. Buy Chalk, Chest, Book of Voyages and Maps, Pistols, Take the 
Flowers from Dogana and the Portrait — Ultramarine — Send for my things 
from Piti — Pay Wilton for Gallery — Ultramarine — Receive from Hone. 
Sketch of two women. 

13. Sketchbook containing Sketches and Notes in MS. made at Venice and on 
the journey thither from Florence. Reynolds travelled by way of Bologna, 
Modena, Parma, Mantua, Ferrara, and Padua. The majority of the Venetian 
notes have been printed in Leslie & Taylor's ' Life.' But among the other 
notes the interesting evidence of Reynolds' admiration for the frescoes by 
Mantegna at Padua seems to have been overlooked by all writers on the subject. 

f. 1. Ob. Sketch of a girl with a loose shawl over her dress. The veil may be 
black gauze, the breast seen through. Both sketch and memorandum are in 
pen-and-ink, over some rough notes in black chalk. 

Rev. Direct to Consul. — See Zuccherelli, pay him Palate. — Send the 
flowers and Portrait to Wagner. — Write to Wilson. — Pay the Horse. — Hat. 
These memoranda are written in ink over a very slight sketch of a figure, 
with notes appended, by Paulo in a Monastry at Verona, a Banquet. — St. 
Justina, Padua, Benedetti del Monte Cassino. — In scola St. Antonio, Picture 
of Titian. 

f. 2. Ob. Sketch from the marble group of a warrior supporting a wounded 
comrade (Ajax and Diomed) in the Loggia dei Lanzi, Florence. Qioseppe 
Mar ci fecit. 

Giuteppe Marchi was a young Italian whom Reynolds had discovered in 
Rome at the age of fifteen. He accompanied Reynolds to England, and 
became well known as a mezzotint engraver. In spite of the signature, the 
sketch on this page has all the appearance of being by Reynolds' hand. 

1 Apparently the Ajax and Patroclus in the Loggia dei Lanzi. 



Sir Joshua Reynolds. 



207 



Bev. Sketch from a picture. Padua. 

f. 3. Ob. Two riders fighting. Sketch from a picture. 

Bev. A woman praying ; slight sketch. 

f. 4. Ob. Modena. The Domo. The 1st Altar on the right hand the circumcision, 
the Virgin kneeling in the Middle of the Picture, a little figure simple and 
beautifull. A Little boy looking at the Doves, another sweet figure, indeed the 
whole is admirable. Guido. 

Sketch of a woman walking on tip-toe, her shawl blown by the wind, 
leading a child by the hand. 

Bev. Sketch of a man attacking another who is on horseback. 

f. 5. Ob. Sketch from a picture of the Marriage at Cana (?). 

Bev. Virgin, Christ, Many Saints, Tint. [Tintoretto]. — Jupiter & Semele. 
— A copy after the notte [of Correggio]. — Pieta, Guercino. — Boman Charity, 
Andrea Sacci. — Marriage of St. Katherine, Guercino. Lo [word illegible]. 

f. 6. 06. Copy Supper, P. Veronese — the supper teith Magdalen. Battles, Julio 
Bomano. — Vault, Tintoretto. — Garofalo, V. B. with J. B. [John Baptist] &o. 
— St. Bock k Dog & Angel with a crown above, Guido. — A young man & his 
Mistress heads [word illegible] in comparison. Magdalen, Caracci, the same 
as that in Zampieri; this Best. — A Minerva with another figure in Armour. 

— 4 Elements, Ludovico. — An old man crowned with ivy, and a glass in his 
hand, behind a muse-like head by Dossi of ferara. 

The last-named picture by Dosso Dossi is still in the gallery at 
Modena. 
Bev. Slight rough sketch ot three figures. 

f. 7. Ob. St. Peter going to be tied to the Cross, Guercino, great size.— St. Peter & 
Paul, heads, Guido. — Do. of Guercino. — A fine Magdalen, Guido. — 
Caniacci V. & B. holding a dove. — Holy Family by Titian in a Landskip. — 
Adultry, Titian. — V. Christ with an Apple, he falling forward.— St. Paul.— 
Many Draw, of Pictures of Dossi. St. Francis' Head, Guercino. 

Bev. Sketch of two warriors fighting over a fallen horse. 

f. 8. Ob. Chiesa Maria at Modena. — A Pieta, Guercino. The Virgin interceding 
with Christ. A Plague below ; a Tast between Guido & Guercino. 
Sketch from a figure of a woman. 

Bev. Sketch of a soldier thrusting back a man with his spear from the 
fresco by Mantegna of ' St. James on the road to Martyrdom ' in the Church 
of the Eremitani, Padua. Opus Ansoine. This last is the inscription on 
the fresco of St. Christopher by Ansuino da Forli in the same chapel. 

f. 9. Ob. Parma. St. Joanne. In a chapel on the right hand, Pieta by Corregio 
the Magdalen in the Colonna. Opposite, the Martyrdom of two Saints 
[Placidus & Flavia], the expression ?] of the woman as that of an Angel in 
Bliss, the colouring divine, white and oil transparent, shadows greyish. — A 
Copy of the Notte better than in the Palace at Modena. — A fine copy of Holy 
Family & St. Jerom by Corregio. — The Cupolo Angles & freeze quite round 
the church is by Corregio's scholars, the mezzo Cupolo Christ Crowning 
Virgin. St. John Baptist (of which a Copy in the Palazzo Piti) and John 
Evangelist with many Angels all by Parmegiano. — A St. John over the door 
by Corregio with the Eagle picking his wings. 

Bev. The Eagle of St. John, Corregio, cleaning his feathers. Sketch from the 
eagle. Sketch from a figure by Correggio. One of the boys in Chiaroscuro 
around Corregio Cupola, Parma. 

f. 10. Ob. In the Garden house of the Palace just by the Great one [Palazzo 
del Giardino at Parma], a room painted by Tiarini in fresco from Tasso. 
There are some fine figures particularly the writing. — Another room by Carlo 
Cignani, the history of Baccus & Ariadne, &c; that of Apollo & Daphne is 
fine, as are all. — A Sea Triumph by Agostino. 3 Boys above, ditto, one 
bending his bow by the help of his foot in a very commodious manner, another 
dipping his torch in a lake, another wetting his arrow on a rock. — Some 
Frescos said to be Parmegiano. 






208 



Drawings of the British School 



Rev. Sketch from the figure of the Soldier in the centre of Mantejrna's 
fresco, ' St. James on the Road to Martyrdom,' in the Church of the 
Eremitani, Padua. 

f. 11. Ob. Sketch from a picture of Apollo and Daphne. A Cignani in Parma 
at the palace in the garden. 

Rev. Sketch from the figure of the horseman at the r. of Mantegna's 
fresco, ' The Martyrdom of St. James,' in the Eremitani, Padua. Also a 
separate sketch from the horse's head. Homing, A Lion's shin on the 
brest. Andrea Mantegna. 

f. 12. Ob. Dome at Parma. Cupola by Corregio, Angels in stone colour by Do. 
you must ash to see the Holy Family with St. Jerom. It gave me as great a 
pleasure as ever I received from looking on any Picture, the airs of the heads 
expression and colouring are in the utmost perfection; 'tis very highly 
finished, no Giallo in the flesh, the shadows seem to be added after by a thin 
colour made of oil and ultramarine, and sometime oil and red, no outline 
scar[c]e to the Face especially the Virgins, the lips, &c. The red mixt with 
the white of the face almost imperceptably — all broad. 

Rev. Sketch of a Cupid flying and blowing a trumpet ; below, a woman 
at a door. A Picture representing a young woman hiding her sweetheart and 
putting her handkerchief in order, the husband knocking at the door. 

f. 13. Ob. Palace T at Mantua. 6) Giants. 5) Julius Cxsar with his Lictor ou 
each side in medalions — the continence of Scipio & Alexand. concealing the 
books of Homer — in different partitions. 6 whole length figure in Roman 
dresses as large as life — 4 Marches in Plaster, d. Portico, not seen. — Historys 
in Medalions. — Cupid & Psyche. 

Rev. Sketch from the picture of "Venice with Peace & Justice, by Paolo 
Veronese, in the Ducal Palace, Venice. See the observations [on f. 65, 06.]. 

f. 14. Ob. Sketch from Giulio Romano ; two Cupids & Satyr ; Palazzo T. 
Sketch of naked boy. Paulo. 

Rev. Sketch from ' The Finding of Moses' by Paolo Veronese (? a copy from 
the picture at Madrid). 

f. 15. Ob. Sketch of a figure from the same picture as the last. Finding of 
Moses in little in the Palace. — A mass of light. 

Rev. Sketch from a reclining female figure by Veronese. Paulo in Little in 
the Palace. 

f. 16. Ob. A fallen giant ; sketch from Giulio Romano. P.T. [Palazzo del Te, 

Mantua]. 

Rev. Rough Bketch from a picture or decoration, three figures on a floating 
shell. 

f. 17. Ob. Sketches from Giulio Romano (Bacchus & Ariadne). A girl with 
cymbals ; head of a Satyr drinking. P.T. — white whiskers; this would serve 
for a fountain. 

Rev. Sketch from a picture, Incredulity of Thomas (?). 

f. 18. Ob. Two sketches from Giulio Romano (Story of Cupid and Psyche) ; 
river gods. P.T. 

Rev. Sketch of a group from G. Romano; Satyr and sleeping nymph, 
adapted. Serve for Time Discovering Truth. 

f. 19. Ob. Sketch from a female figure, by G. Romano. In T. 
Rev. Sketch from G. Romano ; Satyr and Nymph. 

f. 20. Ob. Sketch from G. Romano, a floating female figure. In T. Below 
sketch of a lake and distant campanile, probably the lake at Mantua. 



Sir Joshua Reynolds. 



209 



Rev. Two sketches, a man on horsuback and a man on foot fighting, and a 
warrior on horseback. 

f. 21. Ob. Sketcb from G. Romano; Bacchus and Ariadne, Satyr and Cupid. 
In Palazzo T. 

Rev. Warrior on horseback striking a foot soldier. 

f. 22. Ob. Sketch of a mother and child, the lower part Julio Romano in T., the 
upper part invention. — Sketch of the breech end of a cannon. A Canon at 
Mantua. 

Rev. Sketch from the fresco by Tiepolo, the Embarkation of Cleopatra, 
in the Palazzo Labia, Venice. Tiepoli. 

f. 23. Ob. Sketch of a boy's head, by Bernardo Strozzi. Prete Genoese in Sti. 
Apostili, Venice; the Guardian Angel with this boy in his hand. Two slight 
sketches of warriors. 



Rev. Sketch of a boy wrapped in a shawl. 
coming of a chorus. 



Winter, a little Boy in the 



f. 24. Ob. Sketch of Venus and Cupid in a chariot. In P.T. 
Rev. Sketch of an Apostle (?). 

f. 25. Ob. Sketch of a man and woman standing by a pillar. Slight sketch of 
a church and trees above. 

Rev. Two sketches ; an old man leaning on a stick ; two men talking 

together. 

f. 26. Ob. Figure of Christ from a ' Resurrection ' by Leandro Bassano. L. 
Bassano. Sketch from an ' Entombment.' Palma. 

Rev. Time and a genius flying through the air and catching up a woman 
by the hand and hair. 

f. 27. Ob. Sketches of figures from a ' Crucifixion ' by Palma Giovane. Palma in 
Justina. 

Rev. Sketch from a picture : group of man, woman and child under 
trees. The Wastcoat red like St. Mark's at St. Gregory, by Titian, and 
Mars in the palace, by Paulo. 

f. 28. Ob. Sketch from the figure of Christ in the Crucifixion by Palma Giovane. 
Palma in Justina. 

Rev. Sketch from a picture ; a king on a high throne under a canopy. 

f. 29. Ob. Sketch of a soldier seated. Palma in St. Justina, a statue in a 
Picture. Sketch of drapery on an arm. 

Rev. Sketch of a gondola. 

f. 30. Ob. Sketch from Veronese ; the Almighty and Cherubim. Paulo. The 
flying on the wings of the wind. 

Rev. Sketch of a winged figure standing on a globe. 

f. 31. Ob. Landscape sketch, gardens and buildings, probably at Padua. Below 
sketch of a sculptured pillar. Ignoto. 

Rev. Sketch of the figure of a philosopher, from a picture. 

f. 32. Ob. Sketch of a boy with a dog. Varotarii in St. Maria Maggiore. 
Sketch from a landscape, by Bassano. Bassan I)". 

Rev. Sketch from the 'Diogenes' of Tintoret in the Library of St. Mark, 
Venice. 






210 



Draivings of the British School. 



f. 33. Ob. Sketch of a lady on horseback. Varotario J) ., white apron ; a light 
red petticoat. Sleeves white Satin striped with green. Shoe strip'd. 

Rev. Sketch from a figure of Victory. Victoria in St. Antonio di Padoa. 

f. 34. Ob. Sketch from painting by Veronese in S. Sebastiano, Venice, of a 
column with caryatid and festoon. Paulo in St. Sebastian. 

Rev. Slight sketch of a female figure. 

f. 35. Ob. Sketch from Niecolo Bambini's ' Conversion of St. Paul.' Caduta di 
St. Paulo in St. Polo Cav. Bambini. 

Rev. Sketch of an augel inscribing a shield, 
f. 3G. Ob. Sketch from a picture ; scene in a temple. Cav. Bambini. 

Rev. Sketch from a ceiling decoration, 
f. 37. Ob. Sketch from a figure with hands extended. Cav. Bambino. 

Rev. Sketch from a picture by Veronese. Paolo. 

f. 38. Ob. Slight sketch of drapery. Cav. Bambino. 

f. 39. Ob. Sketch of the fainting Virgin supported by St. John. Salviati at 
Pietro Martire in the Isola Murani. 

Rev. Sketch from Tintoret's ' Baptism of John.' School of St. Rock — Tint. 

f. 40. Ob. Sketch of a man in armour. Salviati D°~ 

Rev. Sketch from ' The Last Supper,' by Tiutoret. 

f. 41. Ob. Slight sketch of a figure and architectural background. 

Reversing the volume, we find : — 

f. 78. Rev. Sketch of an old man looking up. Memorandum for an account for 
a p. of velvet Britches — he gave Carlo for my Acct., etc. 

Ob. Sketch of a h' ad. Crucifix by Pietro Vechia. God by Christ, Devils 
about the bad. An Angel directing the good to Christ : fine heads and the 
whole well composed. A Figure on horseback, a wonderful! Expression A 
boy covers the legs. The horse's head, &c., in the light, one mass. A whole- 
length figure another. [A luller note on this picture is on f. 48, Rev.] 

f. 77. Rev. Anatomical study of a male figure. 

Ob. Study of costume, over an anatomical study : -4 figure in a slash'd 
jacket tuck'd in his breeches, another. 

f. 76. Rev. Two slight sketches of heads. Chiesa Carmelitani Scalzi, is a fine 
church, colourd glass rays. — Chiesa Marc.uo or Ermagora. Last Supper by 
Tintoret Tlie Napkin the Principal Light, divided by a Dark figure. A 
Figure at one End of the Table in white satin divided from the white Prin- 
cipal Mass by a dark figure ; a light figure at each end of the Picture. A 
dog sitting on his tail as btggi, g. A fine picture. 

Opposite, ' Washing the Feet.' Do. The Ground, and background white. 

Ob. The manner of the fingers snatching at the fruit. When he spite he 
talks as if a Nurse was talking to a Child. Hem hard, tire, tire, draw your 
breath, knok oneself on the back. Cut a man's button off as the Frenchman . 
In the Carmelitani Scalzi at Venice an Artificial light that is let in at the 
top of an altar and rays made of yellow tubes of Glass has an extraordinary 
effect. Below, Sketch of a man with a pole, probably bringing a gondola to 
land. 

f. 75. Rev. Slight sketch of a seated figure. Gregorio. The birth, Assumption 
& presentation of Virgin by Jordano. In the choir, the Manna. Daniel. 
Another, where an Angel awaking an old man. The Descent, by Titian. A 
figure dressed in white, flowered with gold lightly : a fine effect. In ' The 



Sir Joshua Reynolds. 



211 



Descent ' of Ti : all the colours broken ; no strong ones ; the 3 Maries make 
the Principal light. Sacristy : Supper. The woman that leans over the table, 
strong drapery to borougk[borrow] form : but her liandk. is shadowy, strong 
blue, lights quite white to harmonise toith the Tublecloth. 

Ob. Shadows of Table Blue. The Colours are like those of a colourd drawing 
except those on the foreground. One sees a little red here <fc there at a 
Distance. The ground on which they stand light (not as the figures at 
table) — the shadows of the figures strong on them ; the ground a little inclinable 
to Grey but rather mellow oily yellow. Some of the Dark figure[s] on this 
ground have white lights stronger than the ground, tho the shadows are as 
dark as can be to hinder instead . . . [This note is broken off and was after- 
wards crossed out.] 

f. 74. Rev. Study of drapery, from a picture. 

Ob. Observation on S. Pietro Martire di Titiano. — Pietro Martirio in the 
Church of St. Giovanni & Paolo. The Trees harmonise with the sky, that is, 
are lost in it some place, at other places relieved smartly by means of white 
clouds. Tlie angels' liair, ivings, and dark part of their shadows, being the 
same colour as the trees, harmonise. — The Trees of a Brown Tint. The 
shadows of the white drapery the colour of the light ground ; the lights the 
colour of the face of the saint. The landskip dark. Trees opposed to campo 
of light ; behind that dark trees ; behind that, Blue scumbled Ult. [ultramarine] 
mountains. The Drawing in general, Noble, particularly of the right leg of 
him that flyes. — His head, &c, the shadows of his eyes and nostrils determined, 
and a beautiful shape. 

f. 73. Rev. Diary of Reynolds' journey to and from Venice. July 21 arrived at 
Mantua, July 22 departed from Mantua and arriv'd at Ferrara the same 
day. 23rd departed from thence. 24th arrived at Venice, 25th Entered my 
Lodgings, 26 the Boy [Giuseppe M archi ?] began to Eat at my Lodgings, and 
two boys pay'd to for me. Aug. 16 parted from Venice, the same day arrived 
at Padua, slept at Torre Confini. 20, past Peschiera & Lago di Garda, slept 
at Osteria del Papa. 21, Brescia. 22, Bergamo.. 23, Milano. 23, arrived 
at Milan ; 27, parted from Milan. 

Ob. Obser. on the Marriage of Cana by Paolo. The principal light in the 
middle, Paolo himself, dresst in white, and light yellow stockings, playing on 
a violino ; the next is his brother going to tast liquor : he is drest in white but 
flowered with va/rious colours. The table-cloth, the end on the other side, with 
the lady, makes a large mass of light. Almost all the other figures seem to be 
in Mezzotint ; here and there a little brightness to hinder it from looking heavy. 
All the banisters are mezzotint ; between some of them, on the right side is seen 
the light building to hinder the line of shadow so as to make the picture look 
half shadow & lialf light. The sky Blue, with white clouds. The lower in 
the middle white as the clouds : and so all the distant architecture, which 
grows darker and darker as it approaches the fore figures ; between the dark 
Architecture in the foreground and the light behind, are placed figures to join 
them as it were together. 

f. 72. Rev. Church of St. Georgio Maggiore. 

By the great altar, two pictures of Tintoret : one Last Supper, the other 
The Manna. 

On the right hand, as you enter, A Nativity, by Bassan. The child, painted 
in the greatest stile. It seems to be painted first without shadoics at all, and 
after the shadows are made by washing lake made very thin ivith oil. The 
colour of the child is laky and oily. 

In the Refettorio, the famous Banquet by Paolo, representing the marriage 
of Cana in Galilee. Amongst the musicians the principal is Paolo himself, 
with a viola ; the second, with a violonone, is Titian ; the third, ivith a violine, 
is Tintoret, he with the flute, Bassan Vecchio. 

[Church] of St. John & Paul, St. Pietro Martire di Titiano. 

In the Refettorio Vecchio, the famous ' Banquet ' of Paolo. The Master of 
the feast, in Red, under the middle arch, looking at the figure drawn from 
Vetellius. He on the left using his knife and fork, ; s the father which 
employed Paolo. A Print. 

p 2 



212 



Drawings of the British School. 



Ob. Observations on the Marriage at Cana in Galilee by Tintoret. 

One sees by this Picture the great use Tintoretto made of his Pasteboard 
houses and wax figures for the distribution of his Masses. This Picture has 
the most natural light and shadow that can be imagined. All the light comes 
from the several Windows over the table. The woman, who stauds and leans 
forward to have a Glass of liquor, is of great service : she covers part of the 
Table cloth, so that there is not too much white in the Picture, and by means 
of her strong shadows she throws bach the table, and makes the fierspective 
more agreeable ; but, that her figure m : ght not appear like a dark inlaid figure 
on a light Ground, her face is light her hair masses with the ground, and the 
light of her handkerchief is whiter than the table cloth. Tlie shadoivs blue 
Vltr., strong. Shadows of the Table-cloth Blueish, all the other colours of the 
draperies are like those of a washed drawing. One sees indeed a little lake 
drapery here and there, and one strong yellow, he that receives the liquor. 

f. 71. Ob} This Picture has nothing of mistiness: the floor is light, an oily Grey; 
the Table cloth in comparison is blue ; and the figures are, releiv'd from it 
strongly by being dark, but of no colour scarce. The figure of the wonan ivho 
poures out liquor, tho' her shadows are very dark, her lights, particularly on 
the knee, is lighter than the Ground. All the women at the Table make one 
mass of light. 

The Last Supper of him [Tintoret] in S. Georgia, is managed something 
in the same, only the Apostles are all on one side. The light is behind them, 
and throws their shadoivs on the table. 

f. 71. Rev. Salute. 

The Descent of the Holy Ghost by Titian. — In the Suffitto of the high 
Altar, three fine Pictures of Salvia ti. The middle one the Manna in the 
Desert, the other represents the Angel which conducts Abaduch to help Daniel 
in the den, the other the Angel giving Succour to Elias; are printed by Lovisa. 

Around these are the Evangelists, in Tondo, by Titian. 

Three pictures of Luca Jordano, the Birth, Presentation, and Assumption 
of the Virgin. 

In the Sagristy, the Marriage of Cana in Galilee, by Tintoretto : a print by 
Odoardo Fialetti, painter and disciple of Tintoret. 

On each side is one of three pictures, which ought to make but one. Saul 
throwing the lance at David, by Salviati; other works of Salviati, as David 
f. 70. Rev. - ] with Goliali's head in Triumph met by young ivomen playing on 
musical instruments. Do. The Supper of Christ. Do. Samson and Jonas by 
Palma. Aaron and Giosue, by Salviati. — St. Mark, and beloio St. Sebastian, 
Rocco, Cosmo, & Damiano, by Titian. — In the Suffitto Three most admirable 
Pictures of Titian, the Death of Abel, the Sacrifice of Abraham, and David 
cutting off the head of Goliah. All three in print by Febre. 

Scuola di S. Girolamo near St. Fau[&]tino. 

Above stairs the altar, Virgin above and angels below. St. Jerom looking 
up, by Tintoret ; a print by Agostino Carracci. 

f . G9. Rev. Ob : Scola of St. Marco. 

Where St. Murco relieves one of his followers. The hands of some of the 
figures fine. The buildings behind quite light, the shadows oily yellow 
scumbled on it. The upper part of the sky dark, the lower white, to mans 
with the Building. Trees by the side pretty dark, to mass with the figures, 
which are dark ; but little lights here and there. The dead figure principal 
light, being in the middle of this darkish Mass. Some of the Draperies painted 
black and white, & then Oil scumbled on it; has a rich effect. Hatchet and 
other thing[&] lying on the ground, are only scumbled, as it were, and some- 
times only Outlines. A light pedestal and Pillar, but broke by a figure on the 
left ; behind them darker pillars, and then the distant light ones. Every here 

f. 70. Ob.'] and there the mezzotint mass enters into the light ground, by means of 
white Turbans strip 'd, flesh, light reds, &c. No Mistiness. The light buildings 
at a distance have likewise some dark doors, so as to mass with the foreground. 



1 In this and other cases, the precise order of the pages has been departed from, in 
order that the notes may be read continuously. 



Sir Joshua Reynolds. 



213 



The dark building on the left hand, the upper part is lost in as dark a sky- 
Tlie TiranVs drapery on the other side the same. 

Sometimes on a dark dead colour white scumbled, and the ground left here 
& there for the partitions between stone, bricks, &c. Flesh, the whole laid in 
soft and broad in the dead colour, and then the shadows added by scumbling. 

f . 69. Ob. Obs. on that [of Jthe carrying away the body of St. Mark. Lightish ground. 
A group of mezzotinto figure[&~], a Camel, &~c, which indeed receive a light on 
one side, but in the middle is the body, light, all soft against the ground. The 
Camel, oil. The body of the figure recovering himself, fine : This light body 
issues out of a Mezzo Tint mass, which masses with the ground at the bottom, 
which is dark ; the ground to upper part of the figure is light. — In painting 
Architecture, &c, after having dead -coloured it blue, when you ivould have it 
shine, scumble white and much oil. 

f. 68. Bev. S. Zaccheria, not far from St. Mark. 

In the sagristy, a most admirable Picture of Paolo Veronese. The Virgin 
and Bambino on a pedestal with St. John Baptist ; below, SSt. Jerom, 
Francis, and Chattarine. A print by Ant. Luciani, drawn by Tiepolo. The 
V. and B. make one mass, St. John another. The Pedestal is light and the 
fluted pillar. This picture is painted in a very large manner, large bold 
features, and wonderfully well coloured. It looks very much as if it were 
painted on a Jess priming, and then smoothed with the finger. 'Tis the best 
preserved of any picture I know of his. The flesh of an Indian red, pur ply. 
A print by Wagner. — A fine picture of Salviati, representing a miracle of St. 
Cosmo and Damiano. 

St. Maria Giubenicco. 
Clirist in the air ; below, St. Giustina and Francesco di Paolo. Tintoret. — 
Over the door, Conversion of St. Paul; Tintoret. — The Sujfilo, and many 
others by Palma. 

f. 67. Bev. Bedentore. 

Ascension of Christ, Tintoretto ; and another by F. Bassan. The Christ 
of the latter has a fine sweep. — Christ carrying to the Sepulchre, a fine 
Picture by Palma. Scourging of Christ, by Tintoret ; the Baptism of 
Christ, begun by Palma, finished by somebody else. 

St. Anna Monache. 
A St. Franci,s, by Guido ; the same as that in the Colonna, and Pallio [?] at 
Bolognia in the Publick Palace. 

School of St. Rock, by Tintoret. 
In the ground floor, The Annunciation. A print of it by Sadeler. The 
angel has just entered in at the window ; a whole troop of boy angels are like- 
wise just entered. The Magi. Flight. 

f. 67. Ob. St. Agnes, of Tintoret, in Madonna del Orto. Slie in the Middle in 
white. The lamb's head on the white. This mass is surrounded with figures 
in dark colours, but on each side towards the edges is a little light — a white 
cap or a shoulder with a bit a linnen : and, that the bottom of the picture 
might not be heavy, the legs of the figure lying are lightish. Two women's 
heads and breast over St. Agnes are light, to join the Architecture behind, 
which is light on a light sky. A Mass of dark Architecture on one side near 
the Eye. The Angels above are dressed only in sky blue ; lights white, the same 
as the sky, which is white and blue. — On the presentation of the Virgin. She 
is drest in a dark Colour on a light ground ; but her flesh, and some lights on 
the drapery, harmonise with the ground she stands on harmonises with the 
dark drapery, as the upper part, being light, harmonises with the light ground. 

f . 66. Bev. Sketch from the St. Agnes of Tintoret in Santa Maria dell' Orto. 

Ob. A general Bule. Ven. — 

A Figure or Figures on a light ground ; the upper part should be as light 
if not lighter than the ground, the lower part dark, having lights here and 
there. The ground (properly) dark. When the second miss of light is too 
great, interpose some dark figure, to divide it in two. A white Drapery edged 
and, striped, or flowered ivith bine, as the bride iti the Marriage of Catia or 



214 



Drawings of the British School. 



the Venus in the Colonna. on a mellow oily ground. — Gondiliers 1 are so . . . 
Zuccarelli says Paulo and Tintoret painted on a Gess ground. He does not 
think Titian did. I am firmly of opinion that all did. A portrait, — putting 
on a morning gown, one sleeve on only, the figure of Paulo in the Library at 
Venice. — The figure relieved on one side only. If darlc figures on a light 
ground, not relieved quite all round. 

f. 65. Rev. Sketch from the figure called « Religion,' by Tintoret. This is a 
light figure ; all the linnen in Mezzo Tint ; the upper part of the Picture and 
on this side [i.e. the r.] the Ground Lighter. [Edges] Scumbled & Lost, etc. 
In Madonna delV Orto, Beliyion by Tint. 

Ob. Obs. — Venice on the Throne, &c. [by P. Veronese, in the Doges' 
Palace]. Her face, &c, in mezzotint shadow with reflexions. The white 
peticoat with gold flowers, and piece of ichite ermine, make the white mass 
against a light blue sky with flesh colour clouds. The figure under her, Peace 
— upper garments very dark, the under light, being flesh-colour heightened 
with yellow. The curtain soft against the ground ; no strong shadows at all. 
Justice rather darkish ; hands, linnen, head lighter than Ground. Some 
touch s of the Drapery Do.. Lion dark. The light drapery of Venice darker 
towards the edges than the ground. 

f. 64. Iiev. Sketch from the upper part of the figure of S. Lorenzo Giustiuiani, 
in the picture by Pordenone, now in the Academy, Venice. St. Giustiniani 
by Pordenone in Madonna dell' Orto. In white. Mouth shut. 

General Rule. — 

A light sky of Angels ; the light by means of clouds, &c, goes off by degrees : 
but on one side a dark figure must come smart against the light to give the 
Picture a spirit. Titian's Salutation. — If two figures, one overshadowed on a 
light ground, the other must be light on a dark ground. Laky garments, the 
lake scumbled on the Gess Ground, warm tlie lights, and if need glazed 
afterwards. 

Ob. Ascension of the Virgin, in Giesu, by Tintoret. The sepulchre white 
marble surrounded with dark figures, but flesh, &c, little lights here and there. 
The Virgin above ; a dark mass on light ground : her head, hands, and some 
of the angels, light to mass with the ground. The Marriage of St. Katharine in 
her Church. [By Paul Veronese.] A gay, light picture. The upper part of 
the figures, light on a light ground. Pillar light, bt. Kat. rather light ; the 
Angel light under the light pillar. 'lYs not in his very best tast of Colouring. 

f. 63. Rev. Sketch from a picture of an old man seated, holding a book, on a 
garden terrace. 

f. 62. Rev. Sketch from an altarpiece. 

Ob. Refettorio of St. Sebastian. 

Obs. — The Woman washing Christ's Feet : Paulo. . The Table-cloth the 
Principal light, divided by means of dark figures into many compartments. 
The nearer Pillars oiled till they are yellow. Dogs, &c, painted, on a gess 
ground. 

The Purification. Do., on the organ. — The Principal light is a changeable 
piece of silk, flesh colour, hightened with yellow. — A boy with a yellow Drapery 
on his breast comes on it. No other lights but what the flesh makes — and, 
indeed a dog, which is inclinable to flesh colour. A pillar square light. 

The Principal light of the Picture, where the two saints are going down 

steps to be martyr'd, is the same colour on a woman kneeling. This is a very 

f. 61. Ob.] good manner; it makes the principal of the flesh. If the Drapery was 

flesh colour, like that in the Transfiguration, it might be still better. The 

buildings of this last picture are all white. 



1 • Gondoliers ' seems intended, though the meaning is obscure. The word begins a 
fresh note, written in ink (the last being in pencil), and the sentence appears to be broken 
off find never completed. Leslie and Taylor read Goddiliers, a supposed corruption of 
Cordeliers. This hardly illuminates the difficulty. 



Sir Joshua Reynolds. 



215 



Obs. — St. Sebastian be/ore the Tirant. All dark figures on a light ground (a 
pretty building) except him who holds a Horse; he is pink colour, sleeves of the 
same tone as the ground ; the sky originally was blue with white clouds, the 
blue is note turned black. The St. Sebn. a fine figure. The buildings behind 
are only two tones, one lightish, the other a degree lower to smart shadows. 

f. 61. Rev. S. Maria dell' Orto. 

St. Agnes fraying for the recovery of the Son of a Profet [Tintoret] ; 
this picture is said to have been much admired studied & copied by Pietro da 
Cortona : 'tis a fine painted Picture. See Obs. [supra, f. 67, 06.]. — A Palla 
with S. Lorenzo Giustiniani, St. J. Baptist, Francis <fc Agost., by Pordenone. 
St. Giust: is a fine figure ; see sketch [f. 64, Rev.]. Print by Lovisa. — Capella 
Maggiore, two large Pictures by [word illegible] by Tintoret. One, the Last 
Judgment. The masses are not very carefully observed ; neither the masses of 
light nor the masses of shadow are of a beautiful shape. A deal of fury. 
The River is finely painted and invented. It is a sort of waterfall, in which 
are tumbling figures in various attitudes. — The other is the bringing forward 
of the Calf. At the top of the Picture is Moses, but not seen by the people 
below on account of the Clouds which fly below the mountain. 

f. 60. Rev. Around tlie Altar under the cupoly are 5 figures, representing Vertues, 
some of them very fine, particularly Religion. — The folding Doors of the Organ 
Inside ; on one side, St. Peter contemplating the Cross held in the air by 
Angels; on the other the beheading of St. Chri«topher. On the outside, the 
presentation to the Temple. He [Tintoret] has supposed a long set of stairs at 
the top of which at a distance is the Priest with other figure[s] and the little 
virgin almost arrived [at] them. The Temple through a shadow on part of the 
steps. Within the shadow are many figure[s~], one in the light — the shadow is 
his ground — another sitting at the bottom of the steps, another standing in the 
Middle. All by Tintoret. Prints of these three by Lovisa. 

Scuola grande di S. Gio. Evangelista. 

In the Albergo a Suffito by Titian. St. John looking up to heaven. A Print 
by Lovisa. The Symbols of the Evangelists & the Angels heads are likewise of 
him. 
Ob. St. Geminiano. 

An Angel foretelling to Sta Catterine of her martyrdom, the whele held in 
the air by other Angels. Tintoret. Tlie old men behind are sweetly Painted in 
a large manner, tho' very small figures. Print by Lovisa. — St. Mena & St. John 
Baptist one on each side the organ and two Bishops above by Paulo ; prints by 
Lovisa. — St. Giuliano. On, the right side the high Altar, a Last Supper by 
Paulo and other Pictures. — Palace of the Procuratie. 

59. Rev. Sketch from a picture. 

Ob. [Church of San Rocco]. Piscina mirabilis [Pool of Bethesda, by 
Tintoret]. Between the Christ and the figure he looks at [is] a mass of 
Shadow. Part of that figure and a woman receive the Principal light. Another 
wo[inan's] head over hers, the figure lying at one end light, other little light, 
& strong reflections. With a Glass Eye one sees no colours scarce. The Christ 
is red; catches light smart. — St. Rock curing in Hospital. The Groimd 
principal light ; to that is joind a group of figures, some getting out of bed, 
some lying ; a woman Entering ; on the other side the figures are shadowd 
toward the ground but smart lights here & there. 

58. Rev. Church of S. Rocco. — In the Capella maggiore 2 Pictures on each side by 
Tintoret. On the left side, the uppermost [is] St. Rock curing the Animals ; 
under it the Saint curing people in a Hospital is a fine Picture. On the right 
side above is where represented when he is taken prisoner, and under in Prison 
with many other prisoners comforted by an angel. — On the left Chapel of the 
high altar is a little Picture, three . . . figures, Christ with the manigoldi 
[executioners] by Titian. On the left side in the middle of the church is the 
Piscina probatica by Tint', painted in a most brave manner. A print by 
Febre. — On the other side St. Martin giving part of his cloak to the devil with 
many other figures ; a fine Picture by Pordenone. On each side the door a 
Picture of Tintoret which formerly belortg'd to the shutters of the organ. A 
Salutation, and a Pope under a canopy at the top of a flight of steps receiving 
some one. 



216 



Drawings of the British School. 



Ob. St. Bock in Prison. — A Figure lying; his dark knee comes on his light 
body, his foot & small of leg light, his head in Mezzotint looking up talking to 
a woman who is in white, a handkerchief a little inclinable to a yellow. No 
colour in the Picture but the Angel blue draperie, the lights white, a little 
lake here & there. 

The Ascension of the Virgin by Jordano. The upper part of the Apostles 
light on a bright ground, the lower dark. The Virgin the same, 

57. Rev. Sketch of a floating cherub. 

Chiesa dell' Umilta. — 

Pieta ivith the three Maries, Angels by Tintoret, large Carracesco manner. 
A print by Sadeler. 

St. Peter and Paul ; admirable Picture by Bassan, superior to anything I 
ever saw of his ; more grace ; the background and the whole enlightened, and 
the feet of the figure are seen. 

the soffito is all painted by Paolo. The Assumption of the Virgin, wi f h 
steps, the Adoration of the Shepherds, The Annunziata, Ornaments likewise 
by him. 

Ob. Sketch of a garland. Notes to a sketch on the fullowiug page: (lie 
tree lighter, a clear sky like Bubens behind the bishop. 

56. Bev. Sketch from a ' Presentation of the Virgin.' 

Ob. John Baptist; Titian, in St. Maria Maggiore [now in the Venice Academy]. 
The flesh on a Blue sky with white clouds, the Breast a principal mass of light, 
the mass of the face separated by a Black beard, the thigh by the shin he holds 
in his hand, the legs of a low tint, the right thigh quite lost, shadow of the 
Jhaperie D"' Veins marked but not Blue ; have the same effect as those in 
the Laocoon. The whole finely drawn, a squareness and divided in plans — 
broad flatnesses. The Lamb another mass, the white clouds another, waterfall 
another ; scarce anything seen but the white of the waterfall, three or four 
Trees, those behind the gess ground oiVd with touches of shadow, those before 
dotted dark, the bark the light gess. 

55. Ob. The body, the linnen low tint the same colour as the lamb, the gess ground 
a grey scumbled over it for the light part. Sketch of a pillar (?) wreathed 
with a scroll. 



55. Bev. Chiesa de' Frari. 

On the right as you enter the great door, after you are past the altar of 
the Crucifix, is the Presentation, ivith many saints; below, an admirable 
picture of Salviati, as fine as Titian or Paulo ; 'tis in their style. 

The Martyrdom of St. Katharine, by Palma. 

The great altar, The Assumption of the Virgin, by Titian. Most terribly 
dark ; I saw it near ; 'tis nobly painted. 

The Virgin, with Christ, on a pedestal ; below St. Peter and St. Francis 
directly under, and under him many portraits profile most incomparably well 
painted, without shadow. On the side St. Pettr is, lower, is a warrior with a 
standard, perhaps St. George. This picture [the Pesaro Madonna, by Titian] 
is very dark, except the heads of the portraits, and those are almost covered 
ivith pots of artificial flowers and, candles. A print by Fevre. 

St. Agostino. — 

Ecce Homo, with Pilate and others, a good picture, by Paris Bordone, in 
the style of Titian, 

f. 54. Bev. Chiesa di San Nicolo de' Frari. 

Tlie high Altar. — The Virgin with Angels above ; below, St Nicolas, 
Chaterine, Antony of Padua, Francis, and St. Sebastian. [By Titian ; now 
in the Vatican.] 'Tis so dark that you see nothing but the body of the St. 
Sebastian, and he looks as if he had host his head, 'tis so dark. No doubt it 
was painted a little so at first to preserve the mass of his body of a beautiful 
shape. St. Nicolo is said to be from the head of Laocoon, which Titian much 
admired. A print by Febre ; another in wood by Titian himself, a little 
different from this picture. ' 



Sir Joshua "Reynolds. 



217 



On the rigid hand of this Chapel is the Last Supper, by Benedetto Caliari, 
according to Jioschini. Bidolfi says 'tis Paulo. Under the Baptism of 
Christ, and at a distance, the Temptation, by Paulo. The other side, the 
Resurrection, by Carletto. Jlidolfi says Paulo. Under, Christ in Limbo, by 
Pal ma. Two Profets and two Sibils, by Paulo. The Resurrection and 
Christ before Pilate, by Benedetto. Ridolfi says Paulo. Christ on the 
Cross, Paulo. 

f. 53. Rev. Soffito, all by Paulo. In the middle the Visit of the Wife Kings, St. 
Nicolas, St. Francis receiving the Stimata. A print by Lovisa. In the 
corners the four Evangelists; two of ivhich, Matthew and Luke, prints by 
Febre. 

St. Maria Formosa. — 

The door of tlie church pretty architecture ; an Altar, by Palma Vecchio, 
divided into many compartements ; in the Middle Sta Barbara, a very good 
figure. 

St. Francesco delta Vigna. — 

The Virgin and Bambino with many saints below, as St. Joseph, John, 
Chaterine, and Ant. Abbate, by Paulo. A print by Agostino Caracci. 

In the Sacristy, painted in oil on the wall, the. colours scaVd off in several 
places, and otherwise mu-h damaged, 'The Virgin and Christ, and two Angels 
below playing on Musical Instruments. 

St. J. Baptist and Girolamo, by Paulo. Opposite is a copy, in little, of the 
Supper of Paulo, where the woman is drying Christ's feet, and a Man offers a 
napkin. The original is in France. 

f. 54. Ob. Obs. The Banquet of Paulo, a little Copy in the Sagresty at Francesco 
della Vigna. 

The distant building, white on a Blue sky, with white clouds. The shadows 
of the buildings the same tone as the blue sky. the lights the same as the white 
clouds. The figures, in strong colours, encompass the tico Table cloths ; that on 
the right side is the principal, and is enlarged by some of the furthermost 
figures at the table being clothed in white and another in light yelloic. A 
Man with a Table cloth, the white Cloth hinders the Two Table-cloths from 

f. 53. Ob.~\ appearing spots. The other Table is broke by a Boy, which comes very 
soft upon it. Another figure light towards the cloth, to make the light go off 
by degrees. The near Pillar light, a woman's head and back light on it, 
loiver part red, darkish. 

The Christ in the White Sheet, in the school of St. Mark [San Eocco], 
will serve extremely well for the apparition that comes to Brutus ; the upper 
part may be kept in shadow, like those fryars at the Church of St. Gregorio. 
The Brutus, the Man holding tlie possess'd child in the Transfiguration. 

f. 52. liev. Santa Giustina.—A Crucifixion by Palma ; the Christ a fine Figure 
and fine Chiaroscuro, the Thieves are fine also. 

Church of the Mendicanti. — St. Elena and St. Lazzero (the only Picture in 
Venice of Guercino crossed out) not extraordinary. 

St. Severo. — A Crucifixion, large, by Tintoret. 

Tutti li Santi. — Resurrection of Christ by Palma. The shutters of the 
Organ, by Paulo. Outside, the visit of the Wise Kings ; within, the four 
doctors of the Church, with Angels sounding musical instruments. Under the 
organ the Padre Eterno riding on angels ; a fine figure, by Paulo. — High 
Altar, all the Saints by Paulo. — An Imitation of the Marriage of Paulo at 
Georgio Maggiore di Andrea Vicentino. There is a large print of this, & a 
little one in the Book of Madonnizella Patina. 

Ob. Obs. — Conviti di Paulo, in John and Paul. — 

The mass of light is the Table-cloth in the Middle; the Christ with the 
figures on each side tender. The whole distant building and sky light, as 
uisual. The Building on the foreground, light and dark. Two pedestals on 
each side the table cloth, a little distant, light; the flesh of none of the figures 
lighter than its ground, at the most 'tis only the same tone, sometimes darker. 
No broad tight, but this middle tablecloth, unless you will except the two 
pedestals bifore mentioned. 



218 



Drawings of the British School. 



f. 51. Bev. Sketch of a femnle figure kneeling on one knee. Ignoto. With 
numbers to indicate Linnen and Draperie. 

Ob. Scola di Carita. — 

Adam and Eve aple. [Tintoret.j His back a Mass of light, his thigh lost 
in the ground ; the shadows in general of all the Pictures are the colour of 
the ground, sometimes a little greyer, sometimes warmer. The Landskips all 
Mellow, except a Utile blue, distant hills and shy ; black trees ; on others more 
yellow. The nearer hills are painted slap-dash with white and grey and flesh 
tints. The leaves of the trees d"\ then scumbled over with a mellow colour. 
The Shadow of Eve grey, a mellow colour scumbled over, or oil. 

Cain and Abel. the shadows of Abel a grey colour, without white, 
scumbled. The shadows painted last. 

f. 50. Ob. An Old Mans Portrait. All the shadows, the marking of the Nose, the 
Eyes, the mouth, entirely painted a/[ter] the flesh was dry. 

They all appear to be painted on a gess priming, at least a white one. 
A very light figure on a light ground, with dark hair, &c, and, other little 
strengths, must have a fine effect. 
Rev. Sketch from a ' Supper at Emmaus.' 

f. 49. Bev. Sketch from a picture. Ignoto in St. Maria Formosa. 

Santa Maria Mater Domini. 

The Finding the Cross, by Tintoret. A print by Giuseppe Maria Metelli, 
commonly on red Paper. 

St. Salvatore. 

High Altar. — Transfiguration, by Titian. 

Christ in white, oily, on the same-colourd ground, relievd by his hair 
being black, and shadow on thigh, which goes off by degrees. The figures on 
each side enlightened. 

Salutation, D u - On it is writ, Titianus pinxit pinxit [sic]. 

Tlie Angel a mass of light. The glory, dove, and Angels, the principal. 
The white of the Angels seems to be painted grey, and then run over with 
very yellow oily white in the lights ; the Virgin nothing light, but head, breast 
and hands. 

f. 48. Bev. Tutti U Santi. 

The Salutation of Mary and Elizabeth, by Cavalier Bidolfi. An imitation 
of Paulo. 

A large Crucifixion, by Pietro Vecchia ; an admirable Picture ; the ivhole is 
well composed, and the particularities are nobly painted, a large, broad 
Manner. There are heads in this Picture equal to any masters whatsoever. 
Over Christ on the Cross is the Padre Eterno. An Angel directs the good 
Tliief to Christ, whilst Devils are very busy with the Oilier. A figure on a 
white horse, on the fore-ground, leans forwards and looks up with great 
expression. The Horse's head light, darker and darker towards his breast. A 
dark boy covers his legs. A whole-length figure another mass of light ; dirk 
figures about them ; some have breeches and stockings all in one, striped with 
red — (yellow crossed out) slashes for sleeves. 



Ob. Sketch from 'The Procession to Calvary,' by Tintoret. 
Tint. 



Scool Bock. 



f. 47. Bev. S. Gerraso. 

The Last Supper, by Tintoret ; fine picture. Prints by Sadzler and 
Lovisa. 

Opposite is N.S. tcashing his disciples' feet, dark manner [now iu the 
National Gallery]. A print by Lovisa. 

St. Anthony tempted by the Devil and some handsonie women. N.S. 
descending to succour him. A good picture, by Tintoret. The upper part of 
the saint the same colour the ground. Christ descending comes dark on the 
light ground ; his legs, &c, lost in the dark sky. 

The Great Altar : A most pompous Slaughter of the Innocents. A deal of 
merit, but the subject does not require so much magnificence. In the sacristy a 
Madonna, Portrait-like, in Craivns, by Bosalva. 



Sir Joshua Reynolds. 



219 






Near this church is Casa Toffetti. Painted in fresco by Tintoret, with 
freezes of boys and naked figures, admirably drawn and colourd. Below, 
Aurora and Titan; on the other side, Cihelle in a Car. Prints of these 2 
last by Lovisa. This is estemed the best fresco in Venice; much decayed. 

Ob. Sketch of the man in armour at the 1. of Tintorct's ' Ecce Homo.' In 
the Scool of St. Bock. Tintoret. 

f. 46. Bev. S. Maria Maggiore. 

A large Picture : a woman who is delivered in the sea. A woman on horse- 
back, a fine figure. A boy with a Dug of [which] / have seen a drawing in 
England. Varottari. 

Altar maggiore ; An Assumption, by Paulo. The Principal light is very 
strong. A kneeling figure in the middle of the Picture, his back towards you, 
a white loose drapery on him. 

On the sides are the Visit of the Wise Kings, by Tintoret. The two opposite 
by Domenico Tintoret. 

The Chapel on the left, the fine St. Jo. Baptist by Titian; in perfect 
preservation, admirably drawn and colourd. • 

Hung up in the church, a Picture of Noah's Ark, the 4 Seasons, and 
others by Bassan. Christ in the Garden, little, by Paulo ; fine Clair-oscure : 
An Ecce Homo, by Paris Bordone. A Madonna, on board, with Cherubims 
and Angels ; a picture of a great deal of merit, by Bellino. 

Pantaleone. 

St. Pantaleone, that recovers a boy supported by a priest ; and a portrait by 
Paulo. 

The soffito of all the Church is by Fumiani. 

The Saint curing in a Hospital, by Paulo. 

St. Bernardine D". Paul D". 

f. 45. Rev. Scola delta Santa Trinita (Carita crossed out) by the Salute. 

Thirteen Pictures of Tintoret. 11 Padre Eterno creating tlie World. The 
Formation of Eve is a fine Picture, as is Eve tempting Adam and Cain and 
Abel : all finely drawn, and colourd and composed. Prints by Lovisa. The 
Coronation of the Madonna, and the Trinity are not by him. Two portraits, 
fine, by Tintoret. 

Giovanne Elemosinario di Rialto. 

The high altar representing St. Gio. Elemosinario giving to the poor, is a 
fine Picture of Titian. 

f. 46. 06. Obs. — The white Rocket shadows dark to mass with the ground, the short 
cloak being dark, the upper part of the rocket is likewise so, to mass with it. 
The left arm in sliadow. TJie Cuppola by Pordenone, but damaged so as 
scarce anything to be seen. 

f. 45. Bev. S. Polo. 

The Marriage of the Virgin (on the left), by Paolo. The lower part of St. 
Joseph catches a little light, otherwise they are both in a mezzotint on a light 
sky. High Altar : The ' Conversion of St. Paul, 7 but half covered by things 
before it ; by Palma. Four Pictures on the sides of this Altar, by Palma. 

The chapel on the left, four Pictures by Salviati ; the History of Christ. 
Assumption, by Tintoret, covered by a jointed baby. 

f. 44. Bev. On the left of the Principal Door is the Last Supper of Tintoret, wliere 
there is a figure leaning back, reaching bread to beggar, wlw lyes along ; 
Christ with both hands giving bread to the Apostles. In the middle Isle the 
two middle Pictures above are very good ones of Cav. Bambini. On one side, 
the Conversion of St. Paul, on the other Preaching at Athens. There are 
many other good pictures dispersd about. 

f. 45. Ob. Sketch of two figures, a woman and a beggar. Woman in black, 
white Handkerchief; he before her in Bed; light catches on his left leg, left 
shoulder & tips of his fingers. Tint, in Scool of St. Mark. 

f. 44. Ren. S. Sebastiano. 

Paolo's monument in this Church. The Soffito is painted by Paolo, in three 
compartiments, and. some long slips with boys and festoons of fruit. The first 
compartment is Easter in the presence of King Ahasuerus, and Mordecai by : 
in the middle, the same Queen : in the 3rd the 'Triumph of Mordecai. 



220 



Drawings of the, British School. 



The High Altar: the Virgin and Bambino, above; brfow, St. Sebastian, 
Catherine, J. Baptist, Pietro, and St. Fra[n~\cis ; and a Padre, a countryman 
of Paolo, and promoter of this work. 

A print by Alessandro della Via. By Paolo. 

f. 43. Rev. On each side is a fine picture of Paolo ; on the right St. Mark and 
Marctlliano condemn' d, and going to suffer death. They are met by their 
father, who is sustaind by servants, who prays him to live. The Mother 
follows in tears. The wife meets him with her little. children ; St. Sebastian, 
on their side, encourages them, showing them an Angel with the book of life. 
This is one of Paolo's best Pictures. 

On the other side is Sebastian about being [bound] to a Piece of Wood 
to be martyrd with Clubs. Their are many heathen Priexts about him, 
endeavouring to persuade him to Idolatry. A print by Aletelli. Over the 
pulpit, a little Holy Family, of Paolo. The Organ : outside, the Purifica- 
tion ; a print by Febre. Within, the Paralitic Healed, by D '• In the 
Pergolato {or body of the Organ), Nativity, D"' In the Sagristy, some of his 
first works, a ceiling, but indifferent : Moses, serpent, dec. A Prt., Patina. 
In the Coro, St. Sebastian before the Tirant : fine. D"' Opposite, in 
fresco, his Martyrdom ; no dogs ; fine ornaments, columns & about these. . . . 

f. 42. Riv. In the Refettorio. — The Banquet of Simon Leproso. This is the 
second Picture he made in Venice of this subject ; the woman washing Christ's 
feet at the end of the Picture, the right side ; 'tis decayd. A Print in two 
sheets by Metelli. 

f. 44. Ob. Isola Murano. — Pietro Martire. 

The high Altar ; A most capital Picture of Salviati, the Descent from the 
Cross. As well as I remember, the Christ is a good deal the same as that (in 
St. Croce I think it is) in Florence. The Crist crosses the Picture, the 
Virgin swoons, and in as fine an Attitude as was ever invented; the figures 
around her are all fine. 

4 pictures by Paulo, 2 on each side the door. 

Burano. — St. Mauro Monache. 

The high Altar : The Martyrdom of that St. by Paulo. 
Torcello.-^-St. Antonio. 

The right side of the church, looking toward the high altar, is all painted 
by Paulo. The high Altar, three saints sitting ; by D '• 

f. 43. Ob. Tlie organ is the best part of this work ; Inside is a fine Salutation ; on 
the outside, the Adoration of the Magi, all the little ornaments in chiaroscuro 
are likewise of him. 

St. Angelo. 

On the right of the High Altar, a Tieta, with St. John Evangelist, St. 
Jerom, two statues, a sepulchre in the Middle. This vias begun by Titian and 
finished by Palma. The statues are entirely of Titian, and are very fine and 
Mellow, the lightest part is little more than the colour of Jess. 

S. Stefano. 

The Cloister, by Pordenone, much decayed. 

St. Cassiano. 

St. J. Baptist, Jerom, Mark, Peter and Paid, the best Picture I ever saw 
of old Palma. The Organ by Tintoret. 

Capella Maggiore, all by Tintoret. The Altar, Resurrection ; one side, 
Crucifixion; other, Limbo. 

f . 42. Rev. Padri Gesuiti. 

The Martyrdom of St. Lorenzo at Night [Titian]. 

'Tis so very dark a Picture, that, at first casting my eyes on it, I thought 
there was a black Curtain over. This same subject for Philip King of 
Spain, different from this ; this having in the background Architecture and 
figures, particularly one with a Torch coming out from between the Pillars ; 
the other has smoak clouds, and two boys above : of this latter is a print, 
Cornelia Cort. 

The Assumption of the Virgin by Tintoret. A Print, Lovisa. 



Sir Joshua Reynolds. — 8. W. Reynolds. 



221 



Scoot of Carita. 

The Presentation of Titian. Principal light is the profile woman in the 
middle, the old woman under nothing light but the linnen on her head and 
breast ; the woman holding the child light. 



f. 41. 



f. 42. 



Rev. St. Ermagora, detto S. Marcuola. 

Tlie High Altar : — on one side, the Last Slipper, by Tintoret : Opposite, 
' Washing the Feet,'' Do. 

Ob. Obs. on the Last Supper of Tintoret — The Table-cloth, as usual, the 
principal light, but divided by a dark figure, so as to make a secondary light ; 
then comes a dark figure which covers entirely the end of the Table ; then 
comes a figure in white Satin. At the other end of the table there is likewise 
another light on one of the figures, in this manner [slight small sketch in 
illustration], and a light figure on each end of the picture. On the steps a 
dog sitting on his tail, as begging. 

Washing the Feet. — The ground and background white ; a dark colonade 
ivith Banisters runs across the picture. 



f. 41. 



Eev. Corpus Domini. 

St. Domenico throwing the book in the fire. 
Bicci. 



A good picture of Sebastian 



St. Lucia. — Tlie Architect Palladio. 

Marcilian. 

In the Sacristy is an admirable Picture of TiHans and well preserved only 
too yellow, of Tobias and the Angel ; the heads are remarkably fine. A print 
by Lovisa. 

St. Eustacio. 

The flagellation of Christ by Georgione : another Picture joined to it of 
another hand. 

School of St. Bock. 

Near 40 Picture of Tintoret. The Salutation where a whole string of 
Angels are rushing in at the window ; fine effect. 
The two sketch-books, Nos. 12 and 13, were purchased May, 1859, from Miss 
Gwatkin ; formerly purchased by Mr. Gwatkin at Lady Thomoud's sale, 1821. 

Attributed to Beynolds. 

Portrait Study op a Man's Head. Head, life-size, of a young man, in three- 
quarter face, turned r. and looking r. ; smiling slightly. 
Black and red chalks ; roy., 12 x 8| in. 
Purchased July, 189G. 

Study of a Child's Head. A child's head, drawn apparently from a cast, nearly 
in profile turned 1., and seen from beneath. 
Red and black chalk ; roy., 10J x 8£ in. 

Purchased October, 1872. 



REYNOLDS, Samuel William (b. 1773, d. 1835). Mezzotint engraver 
and landscape painter ; studied painting under W. Hodges, R. A., and 
engraving under J. R. Smith ; noted for his very numerous and skilful 
mezzotints, in which etching was largely used ; painted also land- 
scapes both in oils and water colours ; worked in London and in 
Paris, where his talent was warmly admired and greatly influenced 
French engraving. 

1. Near Ashburnham. A river in the foreground with a bridge at the r., over 
which a road, leaving a group of houses r., ascends the slope of a range of wo ,dy 
hills beyond; stormy effect. 

Water colours : roy., 10J x 14f in. 

Purchased February, 18C2. 



222 



Drawings of the British School. 



2. A Moorland Road. A road winding away over a purple moor; in the fore- 

ground a pool, and 1. a slender tree. 

Wa'er-colour sketch over black chalk; roy., 10J x 14J in. 

Purchased June, 1874. 

3. Lake and Trees. Part of a lake, with reeds and shady trees on the further 

bank, and the corner of a garden terrace in the foreground 1. 
Water-c< lour and body-colour sketch ; roy., 12| x 18| in. 

4. Hill Arinaig, North Wales, on the road from Bala to Festiniog. A 

wide view of bare country with two dark hills in the distance. 
Water colours over black chalk ; roy , 5£ X 15| in. 

5. In Windsor Park. View of the distant castle from the top of a wooded slope, 

with tall trees in the foreground. Signed S. W. R. 
Sepia wash and pen ; roy., 8£ x 12J in. 

6. Warwick Castle. The castle seen from the Avon, with trees on the banks of 
the stream. Unfinished. 

Pen and sepia; roy., 10J x 14 J in. 

7. A Glade. A shadowy glade between banks with clumps of trees on the top of 
them, and a hill in the distance. 

Black chalk and stump; roy., 6£ X 10J in. 
Nos. 3-7 were purchased June, 1 889. 

8. Evening View above a Town. A path leading through a gate in a hedge 
down into a hollow with moors beyond, the smoke of a town rising up from the 
valley. 

Distemper sketch on brown paper; imp., 13| x 20f in. 
Purchased June, 1874. 



RICHARDS, John Inigo, R.A. (d. 1810). Landscape painter and 
scene painter; Fellow of the Society of Artists, 1766; original 
member and afterwards secretary of the Royal Academy ; painted 
landscapes and figure subjects, but best known by the scenery which 
he painted for Covent Garden. 

1. Bridge near Brecon, Wales. A stone bridge of four arches towards the 1. 
crossing a river which flows past the foreground ; a group of cattle on the near 
bank ; on the further bank, a cluster of cottages and some trees near the bridge ; 
three figures on the bridge. 

Water colours ; roy., 11 x 17 J in. 
Purchased June, 1869. 

2. Bridgewater Bridge, Somerset. A view of the old stone bridge (for which 

an iron one was substituted in 1795) acro.-s the river Parrett, with houses of the 
town on either side, and shipping beyond the bridge. In the 1. foreground two 
men on a wharf and two others on a barge moored near it. Signed J. Richards, 
R.A. 
Pen and Indian ink, with water-colour tint; roy., 8 J x 13§ in. 

3. St. Vincent's Kock, Bristol. View on the Avon, with the rocks r. and closely 
wooded banks 1. ; two boats on the stream. Signed J. Richards. 

Water colours ; roy., 8§ x 13^ in. 

Nos. 2 and 3 were purchased February, 1880. 

4. The Old ' Justice ' Hulk Lying off Woolwich, 1777. A long view of the low 
shores of the Thames, with a pathway leading to a gun target r., and the hulk 
lying off the shore 1. with another small hulk near, and various boats between 
them and the bank. Signed and dated /. I. Richards, 1777, Sept. 30th. 

Indian ink and water-colour tint ; roy., 8 x 33 in. 
Purchased June, 1889. 



John Inigo Richards. 



223 



5 Two on one mount, roy., viz. : — 

(aj Mill at Hestercombe, Somerset. View of a water-mill built over a stream 
which flows into the foreground. 
Water colours ; 5£ x 8 in. 

(&) View at East Acton, Middlesex. A house standing among trees with a 
garden in front, and a stretch of grass in the foreground. 
Water colours ; 5§ x 8§ in. 
Purchased May, 1890, at the Percy sale. 

[6-1 G] Drawings inserted in the interleaved Catalogues of the Society of Artists, 
presented by J. H. Anderdon, Esq., 1869. 

6. ' North Entrance to Harrow on the Hill.' 

Water colours ; 5§ x 8§ in. 
No. 438 in Vol. n. 

7. Brill near Pancras. A cottage and ponds in the fields; 'The Brill' was a 
name given to the fields by the New Road, now occupied by Soiners Town. 

Water colours ; 4§ x 7| in. 
No. 545 in Vol. n. 

8. Ruins of St. Augustine's Abbey at Canterbury. 

Water colours ; 4| x 6£ in. 
No. 546 in Vol. ii. 

9. Mill near Hestercombe, Somerset. View of a watermill (probably the same 
as that described in No. 5(a) ) from the side, showing the overshot wheel. 

Water colours ; 4£ x 7g in. 
No. 635 in Vol. in. 



Inscribed on the buck by Jno. Richards, R.A. 



10. Glastonbury Street, Somerset. 

Water colours ; 4J x 8J in. 
No. 636 in Vol. in. 

11. Ruins op an Abbey near Plymouth. 

Water colours ; 5| x 7£ iu. 
No. 724 in Vol. in. 

12. Ruins of St. Regadon's Abbey, Kent. Inscribed on the back by the artist St. 
IlegadorCs Abbey — Kent, 1753. 

Water colours ; 4£ x 6£ iu. 
No. 725 in Vol. in. 

13. At Mitcham, Surrey. Watermill, church, and cottages. 

Water colours ; 5| x 7£ in. 
No. 803 in Vol. iv. 

14. Cottagks near Lilworth. Inscribed on the back by the artist Near Lulworth 

Cove — Dorset. 

Water colours ; 4£ x 7| in. 
No. 804 in Vol. iv. 

15. Salmon-Leap at Leixlip, Ireland. 

Water colours ; 5| x 8g in. 

Presumably a skt-tch for a picture exhibited with the Society of Artists, 1766. 

No. 917 in Vol. iv. 

16. Sandford Castle, near Weymouth. Inscribed on the back West View of Sand- 
ford Castle, near Weymouth, 1763. 

Water colours ; 5J x 8J in. 
No. 918 in Vol. iv. 

[17-19] Drawings inserted in the interleaved copy of Edwards' * Anecdotes,' 
presented by J. H. Anderdon, Esq., November, 1867. 

17. View on the Bristol Channel. Inscribed by the artist Bristol Channel with 
Flatt Holmes & Steep D u ~ — from Catherston Lodge, Somerset. 

Water-colour sketch ; 4£ x 7£ in. 
No. 348 in Vol. u. 






224 



Drawings of the British School. 



18. Farmhouse in Essex. Dated on the back by Mr. Anderdon 1763. 

Water colours ; 5 x 8 in. 
No. 578 in Vol. n. 

19. A Village Street. Dated on the back by Mr. Anderdon 1760. 

Water colours ; 4f x 8 J in. 
No. 579 in Vol. n. 



RICHARDSON, Jonathan, the elder (b. 1665, d. 1745). Portrait 
painter, etcher, and writer on art ; pupil of John Riley ; succeeded to 
the vogue of Kneller and Dahl ; published a book on the Theory of 
Painting and other works, including the first English guide to works 
of art in Italy ; well known also as a collector of drawings ; worked in 
London. 



RICHARDSON, Jonathan, the younger (b. 1694, d. 1771). Portrait 
painter and writer ; only son of Jonathan Richardson I., with whom 
he collaborated in his literary work ; drew and painted a little, but 
was hampered by weak sight ; worked in London. 

The following drawings have been attributed, some to the elder, some to the 
younger Richardson ; but there seems to be no certain evidence that any of them 
belong to the latter, and the differences in style are not such as to afford a safe 
criterion. There were only a few drawings by the son in his own collection, 
sold 1771, but hundreds by the father. It has therefore been thought best to 
catalogue the drawings together under one heading. A note has been added 
to those which may with any probability be ascribed to the younger artist, 
but the great majority doubtless belong to the elder. 



1. Portrait of Kichardson the Elder. 
eyes looking full. 

Red chalk; roy., 11 f x 11 J in. 

Purchased October, 1870. 



Head in three-quarter face turned 1., 



2. Portrait of Richardson the Elder. Head in three-quarter face turned 1. 
eyes looking lull ; wearing a cap. Dated 30 Aug., 1733. 

Red, black and white chalks on blue papei ; roy., 16 X 11$ in. 

Purchased February, 1852. From the Richardson, Vertue, and Horace 
Walpole collections. 

3. Portrait of Richardson the Elder. Head in three-quarter face turned 1., 
eyes looking full ; wearing lull wig. Wrongly inscribed in a later hand Sir 
James Thorrihill. 

Red, black and white chalks on blue paper; roy., 15§ x 11| in. 

Purchased October, 1870. From the Richardson collection. 

4. Portrait of Richardson the Elder. Head in three-quarter face turned 1., 

eyes looking full ; wearing cap. Dated 10 Mar. 34/5, and inscribed in the writing 
of Richard Bull Mr. Richardson, Sen., J. Richardson, Ju r ',fec [/]. 

Red, black and white chalks on blue poper; roy., 12§ X 9£ in. 

Richard Bull, the eighteenth century collector, ascribed this drawing to the 
younger Richardson, and as he may well have bought it at the artist's sale, 
there is a presumption in favour of the ascription. 

Purchased June, 1881. From the Richardson and Bull collections. 

5. Portrait of biCHAKDSON the Elder. Head in profile looking 1., wearing cap. 

Red, black and white chilk on blue paper ; roy., 14§ x 10J in. 

This is not actually a drawing, but an offset made from a drawing by rubbing. 

Purchased October, 1872. 



Jonathan Richardson. 



225 



6. Portrait of Richardson the Elder. Head in full face, wearing a laurel 

wreath. Inscribed on former mount by the younger Richardson My Dear late 
Father. 

Pencil on vellum; roy., 6§ x 5| in. 

7. Portrait of Kichardson the Elder. Head in three-quarter face turned 1. 
eyes looking full ; wear ng cap. Dated 31 Aug., 1736. 

Pencil on vellum ; roy., 5| x 4 in. 

Nos. 6 and 7 were bequeathed by the Rev. C. M. Cracherode, 1799. 

8. Portrait Sketch of Richardson the Elder. Head in three-quarters turned 
r., eyes looking down ; cap on head, smoking a clay pipe. Dated 31 May, 1734, 
bet. 11 & 12 at night, and inscribed in another hand Jonathan Richardson 
Painter. 

Pencil on vellum ; roy., 7 x 5£ in. 

Presented by Miss Wilson, November, 1835. From the Richardson collection. 

9. Portrait of Richardson the Elder; from a painting. Head, nearly in full 
face, turned a little r., eyes looking full; full wig. Inscribed on the back 
Painted abt. May 1692. 31 Jan. 1734/5, and in another hand Mr. Richardson, 
Senr. 

Pencil on vellum : roy., 5f x 4£ in. 

Purchased October, 1872. From the Richardson collection. 

10. Portrait of Richardson the Elder ; for a medallion. Profile head, looking 
1., bald, without wig or cap ; in a circle. Inscribed on the back I. R. Sen r . 

Pencil on vellum ; roy., 4£ x 4£ in. 

11. Portrait of Richardson the Younger. Head and shoulders facing to front, 

head turned a little 1., eyes full ; wearing hat and wig. Inscribed on the back 
by the younger Richardson My Picture by my Dear late Father. 
Pencil on vellum ; roy., 7 x 5| in. 

Nos. 1(1 and 11 were bequeathed by the Rev. 0. M Cracherode, 1799. Both 
from the Richardson collection. 

12. Portrait of Richardson the Younger. Head and shoulders facing to front, 

hear) turned a little I., wearing cap. 

Red, black and white chalk on blue paper; roy., 12J x 9§ in. 

Presented by Sir J. C. Robinson, December, 1872. 

13. Portrait of Richardson the Younger. Head facing to front ; wearing three- 
cornered hat. 

Red, black and white chalk on gray paper ; roy., 1 2£ x 8 J in. 

Purchased May, 1898. 

14. Porthait of John Riley. Head and shoulders in three-quarter face turned 1., 
eyes looking full. Inscribed on the back Mr. J. Riley, 21 Dec, 1734. 

Pencil on vellum ; roy., 6g x 5J in. 

Drawn from a portrait, nut from life, as Riley died in 1691. For Riley's 
biography see below under his name. Richardson married his niece. 

15. Portrait of Mrs. Jociiebed Riley. Head in full face turned slightly r., eyes 
full, wearing a kerchief tied under the chin. Inscribed on the back Mrs. 
Jochebed Riley, Mother of Mr. Riley. Dy'd 7 Jan , 1692. 

Pencil on vellum ; roy., 5£ X 4£ in. 

16. Portrvit of Sir James Thornhill. Head and shoulders in three-quarter to 

full face, turned r., eyes looking full ; cap on head. Inscribed on the back 
Aug. 1, 1733, done at Thornhill, in Dorset. 
Pencil on vellum; roy., 5| x 4f in. 

Nos. 14-16 were bequeathe 1 by the Rev. C. M. Cracherode, 1799. 

VOL. III. q 



226 



Drawings of the British School 



17. Portrait of Sir James Thornhill. Head in three-quarter to full face, turned 
r., eyes looking full ; wearing wig. Inscrib d by the artist J. Thornhill setat. 57 
on this July, ye 25th. Signed and dated J. Richardson del: at Thornhill, 21 
July, 1733. Another hand has written, apparently repeating an inscription by 
tl.e artist which has been cut off: Header, if you do admire Virtue or Talents 
spare this sketch by Richardson. 

Pen-and-ink ; roy., 9£ x 7 in. 
Presented before 1837. 

18. Portrait of Thomas Hudson. Head in three-quarter face turned I., eyes 
looking full ; wig partly indicated. Inscribed by Richard Bull, Thomas Hudson, 
Tainter, when young, drawn by Jonathan Richardson, his Master and Father-in- 
Tmw By Richardson's daughter Hudson had one daughter, who died in her 
childhood. 

Red chalk on blue paper, heightened with white ; imp., 18J x 12 in. 

Thomas Hudson, portrait painter, b. 1701 in Devonshire, pupil of the 
elder Richardson, with whose daughter he made a runaway match ; became 
the most fashionable portrait painter of his day, and maintained his supremacy 
till eclipsed by his own pupil Reynolds; died at his homo at Twickenham, 
1779. 

Purchased February, 1852. Formerly in the Vertue and Horace Walpole 
collections. 

19. Portrait of Laurence Eusden. Half length, turned 1., the face in three- 
quarters and eyes looking nearly full ; smiling and holding up a laurel wreath 
in the 1. hand, with a ribbon inscribed Rex mihi dedit. 

Black chalk ; roy., 9J x 1\ in. 

Laurence Eusden, poet laureate, b. 1688, scholar and fellow of Trinity 
College, Cambridge, made laureate on the death of Rowe, 1718, afterwards 
rector of Coningsby, where lie died 1730 ; a mediocre, fulsome writer, described 
by Gray as ' a person of great hopes, in his youth, though he turned out a 
drunken parson.' 

Bequeathed by the Rev. C. M. Cracherode, 1799. 

20. Portrait of Sir Hans Sloane, Bart. Head in three-quarter face turned r. 
and looking r. ; cap on head. Inscribed Sr. Hans Sloane, Bart. 10 Sep. 1740. 

Pen-and-ink sketch over pencil ; roy., 7 X 5£ in. 

Sir Hans Sloane, b. 1660 in co. Down, one of the most famous physicians and 
naturalists of his time ; secretary and afterwards president of the Royal Society ; 
created a baronet 1716; now chiefly remembered by the splendid collections 
which he bequeathed to the nation and which formed (with the Cottonian and 
Harleian MSS.) the nucleus of the British Museum ; d. 1753. 

Presented by A. W. Thibaudeau, Esq., June, 1888. 

21. Two on one mount, roy., viz. : — 

(«) Portrait of William Cheselpen. Head and shoulders in three-qunrter 
face turned 1., eyes looking a little r. ; wearing wig. Inscribed Mr. Chisel- 
don, Dec''- 2-M735. 

Pen-and-ink sketch ; 5 J x 3£ in. 

William Cheselden, b. 1688, at Somerby, Leicestershire, surgeon at St. 
Thomas's Hospital, became famous by his operation for the stone, first per- 
formed 1727 ; author of well-known surgical and anatomical works ; a 
friend of Pope, Newton and of Sir Hans Sloane ; one of the greatest of 
English surgeons ; died 1752. 

Purchased July, 1866. 

(b) Portrait of Mr. Holford. Head in full face turned slightly r., eyes full. 
Inscribed on the back: Dyed \2th Jany. 1753, 8 at night Mr. Holford 
suddenly in his chair with a booh in his hand and two candles by him. Mrs. 
Holford found him so when she came home half an hour after his death and 
went up to salute him he seeming alive. J. R. 

Pen-and-ink sketch over pencil; 5$ x 4 in. 

The 'Gentleman's Magazine' records the death on 13th January, 1753, 
of ' — Holford, of Bedford Row, Esq. ; late a master in chancery. ' 

Purchased December, 1885. 



Jonathan Richardson. 



227 



22. Portrait of John Htjghes ; from a Picture. He Q d in full face, looking 
full ; wearing wig. Inscribed on the back, Mr. John Hughes, Auth. of Siege of 
Damascus, IV April 1736. Painted ab f . A". 1714. 

Pencil on vellum ; roy., 5 x 4J in. 

John Hughes, poet, b. 1677, was one of the best known minor writers of his 
day ; died 1720 of consumption, the same night that his finest work ' The Siege 
of Damascus' was successfully performed at Drury Lane. 

Purchased June, 1880. 

23. Portrait of Mrs. Pope, Mother of the Poet. Head and shoulders, in full 

face, turned a little 1., eyes looking full, wearing a head-dress round the face. 
Inscribed on the back, Mr. Pope's mother from the Life at Twitnam. She was 
Daughter to Sam. Cowper y" Limner. This in the Scetch for a finithd one in Black 
lead my F. [father] made for Mr. Pope. Both extremely like Mrs. Pope. 5 July 
173 .. . 

Pen-and-ink sketch, washed with Indian ink ; roy., 6J X 5J in. 

Engraved on wood. 

Edith Turner, b. 1642, daughter of William Turner of York, was the second 
■wife of Alexander Pope, father of the poet. H« r sister Christiana married 
Samuel Cooper. She died 1733. 

Purchased May, 1885. From the Richardson collection. 

24. Portrait of Mrs. Drummond. Head and shoulders, nearly full face, turned 
slightly r., eyes looking full ; cap tied under chin. Inscribed on back, Mrs. 
Drummond Quak'' Prea[cher] 2 Feb. 17 . . 

Pencil on vellum ; roy., 6| x 4f in. 

Purchased January, 1886. From the Richardson collection. 

25. Two on one mount, roy., viz. : — 

(a) Portrait of Mrs. Catherine Knapp. Head in profile, looking 1. ; with a 
veil over the back of the head. Inscribed on the back, Mrs. Cath: Knapp. 
Pencil on vellum ; 3g x 4 in. 

(6) Portrait of Mrs. Catherine Knapp. Head in profile, looking 1. 
Inscribed on the back, Mr?. Cath : Knapp, 31 Oct. 1733. 
Pencil on vellum ; 3£ x 4 in. 

Purchased August, 1861. 

26. Portrait of Matthew Prior; after Kneller. Head in full face, eyes 

looking a little r. 

Pen-and-ink, red and white chalk on blue paper ; roy., 14J x 10| in. 

Purchased May, 1885, at the Cheney sale. From the Richardson collection. 

27. Portrait of Sir Isaac Newton ; after a Picture. Head and bust in three- 
quarter face turned 1. and looking I.; full wig. 

Pencil on vellum ; roy., 5| x 4| in. 

28. Portrait of Milton ; after Faithorne. Head and shoulders facing to front, 
head turned slightly 1., eyes full. Inscribed on the back, From an Original in 
Crayons by Faithorne, and in another hand Milton. 

Pencil on vellum ; roy., 5 J x 4^ in. 

29. The Head of Milton; after a bust. In three-quarter face turned 1. Inscribed 
on the back Milton, 17 Feb. 173 .. . 

Pencil on vellum ; ioy., 6£ X 5£ in. 

30. Head of a Cavalier ; after Vandyck. Head and bust of a young man witli 
long hair, in full fuce. Inscribed on the back After V. Dyck. Orig: uncertain, 
the Pict. so much Damaged. 9 Apr., 1741. 

Pencil on vellum ; roy., 6| x &l in. 

31. Head of Pope Julius II., after the portrait by Raphael. Inscribed on the 
back Pope Julius 2d, the Orig: is of Rafaelle in the Collection of the D. of 
Devonsh. Feb. 173 .. . 

Pencil on vellum ; roy., 6 X 5£ in. 

Q 2 









228 



Drawings of the British School. 



32. Head op Raphael ; after the portrait by himself. Dated on the back 1 1 

Sep., 1734. 

Pencil on vellum ; roy., Gf x 5£ in. 

Nos. 26-31 were bequeathed by the Eev. C. M. Cracherode, 1799. From the 
Richardson collection. 

33. Portrait Head, after a bust by Algardi. In three-quarter face turned 1. 

Inscribed on the back Algardi Terr. Cott. 25 June, 1734, to which has been 
added, in a different hand, by the younger Richardson, In My Fath.'s Collect. 

Pencil on vellum ; roy., 5J x 4£ in. 

A later hand bas inscribed this drawing Richardson, fr. his father's collection, 
1734, and this and the following numbers have been attributed to the son. The 
original inscriplions, b >th on this and the other drawings, seem, however, to be 
in the writing of the elder Ricbardson. 

34. Portrait Head; after the same bust. In three-quarter face turned r. 

Inscribed on the back Algardi, 3 Jan. 173[4?], and in the younger Richardson's 
hand my fath.'s Terra Cotta. 
Pencil on vellum ; roy., 6| x 5 in. 

35. Head of a Bishop; after a drawing attributed to Raphael. Inscribed 
on the back Rafaelle, 10 Sep., 173. . . and in the younger Richardson's hand //•. 
a Dr. of m. f's. 

Pencil on vellum ; roy., 5J X 4|. 

30. Head of a Man smiling ; after a drawing attributed to Michelangelo. 
Inscribed on the back Michelang., 23 Aug., 1737, and in the younger Richard- 
son's hand fr. a Dr. of my F's. 
Pencil on vellum ; roy., 3f x 3| in. 



37. 



88 



Portrait of a Man in cap and cloak ; after a drawing attributed to 
Michelangelo. Inscribed on the back Michelangelo, 19 Dec, 17:>5, and in the 
younger Richardson's hand/r. a Dr. of my f's. 
Pencil on vellum; roy, G£ x 5J in. 



Head of a Siamese. In full face, looking r. Inscribed a Siamese. 
Pencil on vellum; roy., 5f x 4$ in. 

Nos. 32-37 were purchased April, 1875. From the Richardson collection. 
Att7-ibuted to Jonathan Richardson the Elder. 

Portrait Study. Head of a man in full face, turned a little r., eyes looking full, 
wearing a wig. Inscribed in a later hand Richardson by himself. 

Black chalk and stump on blue paper, heightened with white; roy, llg x 
9j in. 

Purchased October, 1870. 

Portrait of Henry Purcell. Head in three-quarter face turned 1. and looking 1., 
wig or hair partly indicated. 

Black chalk on lilac, paper, heightened with white; roy., Iff X 10| in. 

This drawing seems to be the .study for a well-known portrait of Purcell, now 
belonging to Mr. Alfred Littleton (engraved by W. Humphry*), which has long 
passed under the name of Kneller. The drawing has been attributed to 
Richardson, but has none of the essentials of his i-tyle ; still less is it like the 
work of Kneller. Perhaps Riley is a likelier conjecture. But the authorship 
is very doubtful. 

Henry Purcell, the greatest of native English composers, b. about 1G58, was 
chorister, and afterwards organist, of the Chapel Royal ; also organist at 
Westminster Abbey; famous for his operas, songs, and anthems ; d. 1G95. 

Purchased May, 18S5, at the Cheney sale. 



RICHARDSON, J. (worked about 1810-1834). Topographical draughts- 
man ; biography unknown. 

[1-3] Drawings in the Grace Collection of London Views, purchased November, 
1880. 



J. Richardson. — H. J. Richter. — J. F. Rigaud. 



229 



The New State Paper Office, St. James's Park. 
"Water colours ; 8£ x 11 in. 
No. 77 in Portfolio XII. 



2. The North and East Sides of Soho Square. 
Water colours ; 7§ X 18| in. 
No. 5 in Portfolio XXIX. 



Drawn 1826. 



3. Lord Inman's House, on the South Side of Bruton Street, Berkeley 
Square. Drawn 1810. 
Water colours ; 6J X 8J in. 
No. 112 in Portfolio X. 



RICHTER, Henry James (b. 1772, d. 1857). Painter, etcher and 
engraver ; born in London ; pupil of Stothard ; member of the Old 
Water Colour Society, and president (1811 and 1812) of the Asso- 
ciated Artists ; painted domestic subjects and illustrations to litera- 
ture, both in oils and water colours, very popular in their time, many 
of his pictures being engraved, some by himself ; wrote also on 
Metaphysics ; worked in London. 

1. Illustration to Spenser's ' Faery Queene.' The Bed-Cross Knight lying 
asleep while two false Dreams in the likeness of Una and a Lady appear to 
him, sent by Archimago, who watches among trees at the r. 

Indian ink, partly tinted in water colours; oval, roy., 10£ x 12 in. 

2. Four on one mount, roy., viz. : — 

(a) NUMA AND HERSILIA ; ILLUSTRATION TO FLORIAN'S ' NUMA POMPILIUS.' 

Nuina finding Hersilia in armour asleep upon the grass of a grove. 
Indian ink, touched with white ; 3£ x 2§ in. 

(6) Illustration to ' Travels Overland to India.' Two ladies on horseback 
(riding astride), one following the other. 

Indian ink, touched with white ; 3g x 2g in. 

(c) Illustration to Monk's ' Voyages.' A savage chief throwing down a 

bundle at the feet of three European officers. 
Indian ink, touched with white ; 3f X 2£ in. 

(d) Illustration to Monk's ' Voyages.' A savage chief embracing a 
European ; another European standing by. 

Indian ink, touched with white; 3f x 2J in. 



3. Two on one mount, roy., viz. : — 

(a) Illustration to Cook's ' Voyages.' 
and natives in the background. 
Indian ink ; 2| x 3£ in. 



A savage war dance, Englishmen 



(6) Illustration to ' Paradise Lo»t,' Book XI., 238. Michael announcing to 
Adam his banishment from Paradise, Adam standing with bowed head, r., 
near a grove of trees. 

Indian ink ; oval, 3£ x 4 in. 

Engraved in stipple (by J. Bichter?) on p. 423 of the 4to. edition of 
' Paradise Lost,' published by J. and H. Bichter, 1794 (the engraving of this 
drawing is dated December 27, 1795). 

All purchased May, 1898. 

RIGAUD, John Francis, R.A. Painter; born at Turin, of French 
stock; studied in Italy; came to London 1771 ; elected A.R.A. 1772, 
R.A. 1784; painted historical subjects and portraits, but was chiefly 
occupied in painting decorative ceilings for the nobility. 






230 



Drawings of the British School. 



1. Spring and Summer; Design for a Ceiling at Mrs. Montague's, Portman 

Square. Spring with lap full of flowers and Summer with sheaf and sickle 
reclining opposite each other on clouds ; behind r. Flora gives a garland from 
her basket to a flying Cupid, and two other Cupids, beneath the other figures, 
float downwards with a cornucopia. In an oval. 
Indian-ink wash and pen, slightly tinted in water colours; roy., 4 x 5J in. 

2. Ob. The Seasons ; Design for a Ceiling. Spring with a torch and Autumn 
with grape-bunch and wine cup, seated on clouds, flushed by the dawn ; 
between and beyond them Summer with lap full of flowers ; at the 1. Winter 
warming his hands at a fire ; beneath, two Cupids bearing baskets of flowers. 
In a circle ; with pencil studies for the same subject on the wide margin. 

Water-colour tint and pen ; roy., 9f x 14 in. 

Bev. The Seasons ; a different Design. Apollo's lyre refulgent in the 
centre ; around, the four Seasons on clouds, each with attendant genii. 
Indian-ink wash and pen. 

Nos. 1 and 2 were purchased July, 1865, at the Bacon sale. 

3. Design for a Monument. Two female figures standing on either side of a 
monument wreathed with laurels above a fuueral urn ; one turns her back, the 
other looks r. ; both lean their arms upon the monument. 

Pen-and-ink and madder brown wash; roy., 13J x 95 in. 
Purchased October, 1872. 

4. Hampton Court Palace. View of the palace from the terrace near the river, 
with the gardens r. scattered over with groups of ladies and gentlemen. 

Indian ink; atl., llf X 25 J in. 

Purchased July, 1860. 



RIGAUD, Stephen Francis Dutilh (b. 1777, d. 1862). Painter; only 
son of J. F. Rigaud ; born in London ; student at the Royal 
Academy ; assisted his father in decorative paintings ; member of the 
Old "Water Colour Society ; exhibited both drawings and pictures, 
chiefly classical and poetical subjects ; worked in London. 

1. Four on one mount, roy., viz. : — 

(a) Illustration to II 'Penseroso.' 

' Come, but keep thy wonted state, 
With even step and musing gait.' 
Melancholy pacing a cathedral aisle with hands clasped and lifted eyes. 
Indian ink ; 3£ x 2£ in. 

(b) Illustration to 'L' Allegro.' 

' But come thou Goddess fair and free, 
In heaven yclept Euphrosyne.' 
Mirth tripping in a landscape, a maypole and dance in the background. 
Indian ink ; 3 £ x 2£ in. 

(c) Illustration to ' Comus.' Sabrina rising from the water in a grotto attended 
by three water-nymphs. 

Indian ink ; 3| x 2£ in. 

(d) Illustration to 'Samson Agonistes.' Samson pulling down the pillars. 
' He tugged, he shook, till down they came, and drew the whole roof after 
them.' 

Indian ink ; 3£ x 1\ in. 

Purchased October, 1860. 



John Riley. — Alfred Rimmer. — David Roberts. 



231 



RILEY, John (b. 1646, d. 1691). Portrait painter, born in London ; 
pupil of Isaac Fuller and Gerard Soest ; painted portraits of Charles 
II. and James II., and was made court painter to William and Mary ; 
worked in London with considerable success after Lely's death, 
though overshadowed by the popularity of Kneller. 

1. Portrait Study of a Man. Head of an old man wearing a broad felt bat, in 
tbree-quarter face, turned r. and looking r. 

Indian ink over black cbalk, on fawn-coloured paper, heightened with white ; 
roy., 9£ x 7 in. 

Purchased October, 1872. 

RIMMER, Alfred (b. 1829, d. 1893). Author and draughtsman, born at 
Liverpool ; practised as an architect for some years ; worked after- 
wards at Chester, writing books on architectural antiquities, illustrated 
by himself. 

1. Old House in the Close, Exeter. View of the front of a Tudor house, with 
bow windows and a balcony above ; a man coming out of the house to a cart in 
the road ; two men in the foreground 1. 

Water colours and Indian ink ; roy., 8 X 5f in. 

Engraved on wood in ' Ancient Streets and Homesteads of England,' p. 93. 

2. Jews' House, Lincoln. View looking up a street to the cathedral, with the old 

stone house at the 1. 

Indian-ink wash and pen ; roy., 5£ x 6§ in. 

Engraved on wood in ' Ancient Streets and Homesteads of England,' p. 198. 

Both purchased January, 1880. 



ROBERTS, David, R.A. (b. 1796, d. 1864). Painter, born near Edin- 
burgh ; began as a scene-painter in Edinburgh and in London ; after- 
wards became well known as a painter of picturesque architecture in 
Normandy, Spain, Italy, and the East ; in his last years painted also 
English subjects ; elected A.R.A. 1839, R.A. 1841 : many of his 
drawings were very popular in lithographic reproductions. 

1. Koman Aqueduct, Segovia. View of the aqueduct from the valley which it 
crosses, with the town at the r. ; two monks in the foreground. Inscribed 
Segovia. 

Water colours and body colours on gray paper ; roy., 6£ x 9£ in. 

2. Ob. Coffee Shop, Jaffa. A court with one-storied open shops 1., and groups of 
Turks sitting in them drinking coffee and smoking ; three others in the r. fore- 
ground, and a man and a boy 1. 

Water colours, body colours and pencil on drab paper ; roy., 7£ X 10J in. 

Rev. Sketches for a similar Subject. Six Turks seated smoking and one 
standing and talking among them. Inscribed Coffee Slwp at Jaffa, Ancien Jopa, 
Syria. Original sketch, 1839. David Roberts. 

Pencil and brown wash. 

Nos. 1 and 2 were presented by J. H. Anderdon, Esq., June, 1872. 

3. Interior of the Church of San Miguel, Xeres. Part of the church, with two 

richly decorated columns, under one of which 1. is a pulpit and a monk preach- 
ing, with groups of people listening below ; on the other column is a coloasal 
figure of an angel holding a lamp ; at the r. part of the high altar. Signed and 
dated D. Roberts 1834. 

Water colours and body colours ; roy., 14 X 10J in. 

Lithographed by the artist in ' Picturesque Sketches in Spain,' 1837. 






232 



Drawings of the British School. 



4. Burgos Cathedral. A near view of the Cathedral from a raised terrace 

adjoining the north angle of the west front: at the end of the terrace, under the 
cathedral wall, is a group of figures gathered round a dilapidated shop ; a 
number of other figures below, about the doors of the church. Signed and dated 
D. Roberts, 1836. 

Water colours ; roy., 15£ X 10J in. 

5. Plasencia. A distant view of the city, lying on a spur of the sierras and enclosed 

by a wall with many towers ; at the 1. a view up a barren valley, crossed by an 
aqueduct; at the r. another valley; in the foreground a road descending a hill, 
and two men meeting at the bend of the road. Signed and dated Roberts 1837. 

Water colours ; roy., 9£ x 14£ in. 

Nos. 3-5 were bequeathed by Henry Vaughan, Esq., August, 1900. 

Attributed to David Roberts. 

Mont Saint Michel. View of the old houses clustered under the abbey, toward 
which a flight of steps built between the outer walls ascends at the r. ; on the 
steps are country men and women. 

Water colours and body colours ; roy., 9£ x 7§ in. 
Purchased October, 188(i. 



ROBERTS, James (worked about 1775-1800). Painter; son of James 
Roberts, a landscape engraver ; born at Westminster, where he 
worked for most of his life ; painted small whole-length portraits, 
chiefly of actors in character, many of them engraved in Bell's 
' British Theatre ' ; exhibited at the Royal Academy, 1773-1799 ; 
worked for some years at Oxford and at Blenheim. 

1. Portrait of John Henderson as Falstaff in ' Falstaff's Wedding,' Act v., 

Sc. 1. Whole length, standing, facing r., holding a small round shield in one 
hand and leaning on a stick. 

Eed chalk ; roy., l|x3J in. 

Engraved by Croniek. 

John Henders n, b. 1747, d. 1785 ; known as ' the Bath Eoscius,' played 
important parts, both in tragedy and comedy, at Bath, but did not appear in 
London till 1777, when he won a place second only to Garrick's : Falstaff was 
one of his best parts. 

Bequeathed by Felix Slade, Esq., August, 1868. 

2. Head-dress of Ladies, 1777. Head and shoulders of a lady in profile looking I., 
wearing an enormously high coiffure, with ostrich plumes at the top, and 
ribbons hanging behind. Inscribed Head Dress of Ladies, 1777. 

Black and red chalk ; roy., 13 X 7| in. 

Purchased October, 1886. 

3. Christ Chdrch, Oxford, from the Meadow. 

Water colours ; imp., llf X 17 J in. 

4. Christ Church, Oxford. The spire of the Cathedral seen among trees, from 
the meadow. 

Water colours ; imp., 17£ X 12£ in. 

5. Magdalen Tower, Oxford. View from the banks of the Cherwell, by moon- 
light. Two men in academical costume in the foreground. 

Water colours; imp., 16 X 12£ in. 

Nos. 3-5 were bequeathed by the Rev. C. M. Cracherode, 1799. 

[6-64] Whole-length portraits of actors and actresses in water colours on vellum, 
engraved in Bell's 'British Theatre'; inserted in the Buiney Collection of 
Theatrical Portraits, purchased 1817. 




James Roberts. 



233 



Mrs. Abington as Miss Prtje in Congreve's ' Love fob Love.' Signed and 
dated Js. Roberts ad viv. delt., 1777. 

4 x 3£ in. 

Engraved by Thornthwaite. 

Frances Abington, b. 1737, d. 1815, of obscure origin, made her first appear- 
ance as an actress 1755 in London, but won her first great success in Dublin ; 
afterwards famous at Drury Lane, and later at Covent Garden, as the most 
brilliant comic actress of the day; the original Lady Teazle of 'The School for 
Scandal ' ; noted for her wit and beauty. 

No. 10 in Vol. I. 



8. Mbs. Abington as 'Aurelia' in Farquhar's 'Twin Kivals.' 
dated Js. Roberts delt., 1778. 
4| x 3£ in. 
No. 13 iu Vol. i. 



Signed and 



9. Mrs. Abington as Estifania in Fletcher's * Role a Wife and Have a 
Wife.' Signed and dated Js. Roberts delt. 1788. 
3 J X 2f in. 
No. 23 in Vol. I. 



10. Mrs. Abington as Estafania. 
Roberts delt. 
4| + 3£ in. 
No. 2G in Vol. i. 



A different portrait from the last. Signed Js. 



The Country Wife; 



11. Mrs. Abington as Mrs. Pinchwife in Wycherley's 

Signed and dated Js. Roberts 1776. 
4£ + HJ in. 
No. 33 in Vol. i. 

12. Miss Barsanti as Helena in Shakespeare's ' Midsummer Night's Dream.* 
SigiK d Js, Roberts ad civ. delt. 

5£ x o\ in. 

Miss Barsanti, a clever imitator of English and Italian singers, appeared first 
on the stage in 1777 : she was the original Lydia Languish ; married Richard 
Daly, the Irish actor and manager. 

No. 190 in Vol. i. 

13. Mrs. Bulkeley as Lady Dainty in Cibber's 'The Double Gallant.' 

4£ x 3 in. 

Engraved by Thornthwaite. 

Mis. Bulkeley (born Wilford) was on the London stage from 1765 to 1789; 
She was the original Miss Hardcastle in ' She Stoops to Conquer.' 
No. 73 in Vol. n. 



14 



15. 



Miss Catley as Euphrosyne in Colman's adaptation of Milton's 

Engraved by Thornthwaite. 
No. 115 in Vol. n. 



Gomus.' 



Signed and dated Js. 



Miss Catley as Rachel in Brome's 'Jovial Crew.' 
Roberts delt. 1781. 

3| X 3£ in. 

Engraved by Thornthwaite. 

No. 118 in Vol. u. 

16. Miss Catley as Polly in Gay's 'Beggar's Opera.' Signed J. Roberts ad 
viv. 

H X 2£ in. 

Ann Catley (b. 1745, d. 1789), a famous vocalist and actress, the idol of 
Vauxhall and Marylebone Gardens; married a General and retired 1784. 
No. 123 in Vol. n. 



17. Mr. Clarke as Procles in Mallet's 
4J x 3 in. 

Engraved by Pollard. 
No. 171 ir. Vol. n. 



Eurydice.' Signed Js. Roberts delt. 



234 



Drawings of the British School. 



18. Mr. Wroughton as Edward in W. Shirley's 'Edward the Black Prince.' 
"Wrongly inscribed Mr. Clarke. 

4| x 3 in. 

Engraved by Pollard. 
No. 176 in Vol. n. 

19. Mrs. Colles as Polly in Gay's • Polly.' Signed and dated Js. Roberts ad 
viv. delt. 1776. 

4| x Si in. 

No. 194 in Vol. n. 

20. Mr. Digges as Cato in Addison's 'Cato.' 

4J x 3 in. 

"West Digges, a spendthrift, of good connections, was the original Norval in 
Home's ' Douglas,' in Edinburgh ; he first appeared on the London stage in 1777. 
No. 82 in Vol. m. 

21. Mr. Dodd as Tinsel in Addison's ' Drummer.' 

4J x 3i in. 

James Dodd, from his first appearance in London 1765 to his death in 1796, 
had no rival as an actor of old fops and simpletons ; he was the original Sir 
Benjamin Backbite. 

No. 99 in Vol. in. 

22. Mr. Edwin as Jerry Blackacre in Wycherley's ' Plain Dealer.' Signed 
Js. Roberts ad viv. del. 

4| X 3£ in. 

Edwin made his first appearance in London in 1776. 

No. 146 in Vol. in. 

23. Mr. Edwin as Justice Woodcock in Bickerstaffe's ' Love in a Village.' 

Signed and dated Js. Roberts ad viv. delt. 1775. 
4£ x 3 in. 
No. 148 in Vol. hi. 



24. Mr. Foote as Fondlewife in Congreve's 'Old Bachelor. 1 
Roberts delt. 
4£ x 3J in. 

See note to Foote's portrait by Cotes, Vol. I., p. 257. 
No. 17 in Vol. iv. 



Signed James 



25. Mrs. Hartley as Almeyda in Dryden's 'Don Sebastian, King of Portugal.' 
Signed and dated Js. Roberts ad viv. delt. 1778. 

4| x 3i in. 

Engraved by B. Reading. 

Elizabeth Hartley (b. 1751, d. 1824) made her first appearance as ' Imoinda' 
(see below, No. 30) ; played chiefly tragic parts, but was more famous for her 
beauty than for any brilliant talent. 

No. 146 in Vol. iv. 



26. Mrs. Hartley as Elvira in Mallet's ' ElviraJ 
del. 
41 x 3£ in. 
No. 147 in Vol. iv. 



Signed Js. Roberts ad viv. 



27. Mrs. Hartley as 'Jane Shore' in Rowe's 'Jane Shore.' 

4| x 3| in. 

No. 148 in Vol. iv. 

28. Mrs. Hartley as ' Jane Shore.' Signed Js. Roberts del. 

4§ x 3f in. 

No. 149 in. Vol. iv. 

29. Mrs. Hartley as the Queen in St. John's ' Mary, Queen of Scots.' 
Js. Roberts ad. viv. delt. 

4J x 3g in. 

Engraved by Thornthwaite. 

No. 1.30 in Vol. iv. 



Signed 



James Roberts. 



235 



30. Mrs. Hartley as Imoinda in Southern's ' Oroonoko.' 
viv. delt. 
4J x 3J in. 

Engraved by Thomthwaite. 
No. 151 in Vol. iv. 



Signed Js. Roberts ad. 



31. Mrs. Sharp as Arethusa in Beaumont and Fletcher's ' Philaster.' Signed 
Js. Roberts ad. viv. delt. 

4J x 3£ in. 

No. 259 in Vol. iv. 

32. Mrs. Lessingham as Ophelia in ' Hamlet.' Signed Js. Roberts ad. viv. delt. 

3£ x 3 in. 

Engraved by C. Grignion. 

No. 248 in Vol. v. 

33. Mr. Macklin as Sir Gilbert Wrangle in Cibber's ' Refusal.' Signed and 

dated J. Roberts ad. viv. delt. 1778. 

4i X 3| in. 

Engraved by Cooke. 

Charles Macklin (b. about 1697, d. 1797), a good dramatist and able aetor, 
famous especially for the tremendous force of his ' Shylock ' ; noted for his 
incessant quarrels and overbearing temper; made many reforms on the stage 
and was an excellent stage manager. 

No. 46 in Vol. vi. 

34. Miss Macklin as Camillo in Vanbrugh's ' The Mistake.' Signed and dated 
Js. Roberts delt. ad viv. 1778. 

4£ x 2£ in. 

Engraved by Thomthwaite. 

Maria Macklin (d. 1781), daughter of Charles Macklin, played in a variety of 
characters with some talent and success. 
No. 56 in Vol. vi. 

35. Mrs. Mattocks as Catherine in Shakespeare's 'Henby V.' Signed Js. 
Roberts ad. viv. delt. 

4| x 8f in. 

Engraved by Grignion. 

See note on De Wilde's portrait of this actress, Vol. II,, p. 32. 

No. 109 in Vol. vi. 



36. Mr. Moody as Teague in Howard's ' The Committee.' Signed James Roberts 
ad vivum delineavit. 

4 x 2£ in. 

Engraved by Walker. 

John Moody (b. about 1727, d. 1812), a native of Cork, was well known as a 
player of comic parts, especially "league,' but grew heavy in style and un- 
popular towards the end of his career. 

No. 165 in Vol. vi. 

37. Mr. Palmer as Stukeley in Edward Moore's ' Gamester.' 

4£ x 2£ in. 

John Palmer, an excellent general actor, played in London from 1762 to 1798; 
he was the original Joseph Surface. 
No. 255 in Vol. vi. 

38. Mr. Parsons as Periwinkle in Mrs. Centilivre's 'A Bold Stroke for a 

Wife.' Signed and dated Js. Roberts delt. 1778. 

4J X 3 in. 

Engraved by Thomthwaite. 

William Parsons (b. 1736), famous for bis acting of old men, last appeared in 
1795, and died the same year. 

No. 13 in Vol. vn. 



236 



Drawings of the British School. 



39. Miss Pope as Biddy Tipkin in Steele's • The Tender Husband.' Signed Js. 
Roberts delt ad viv. 

4J x 3J in. 

Engraved by Thornthwaite. 

Jane Pope (b. 1742, d. 1818), was famous for her performances of pert 
soubrettes. 

No. 53 in Vol. vn. 



Faie Quaker of Deal.' Signed 



Signed Js. Roberts 



40. Miss Pope as Dorcas Zeal in Shadwell's 
Js. Roberts delt. ad viv. 

4 x 3J in. 

Engraved by Thornthwaite. 
No. 56 in Vol. vn. 

41. Miss Pope as Rosetta in Edward Moore's ' Foundling.' 
ad viv. delt. 

4A x 31 in. 

No. 59 in Vol. vn. 

42. Miss Pope as Corinna in Vanbrugh's ' Confederacy.' Signed and dated Js. 
Roberts ad viv. delt. 1777. 

5 X 31 in. 

Engraved by Pollard. 
No. 63 in Vol. vn. 

43. Miss Younge as Artemisia in Kowe's ' Ambitious Stepmother.' Signed Js. 
Roberts delt. 

4| X 2g in. 

Elizabeth Younge, b. about 1744, d. 1797, a pupil of Garrick, was one of the 
finest English actresses, surpassing all her rivals in variety, playing both tragic 
and comic parts excellently ; she was the first wife of Alexander Pope, the 
actor. 

No. 76 in Vol. vn. 

44. Miss Younge as Hermione in Ambrose Philips' ' Distrest Mother.' 

5 x 3| iu. 

No. 79 in Vol. vn. 

45. Miss Younge as Creusa in Whitehead's 'Creusa, Queen of Athens.' 

Signed and dated J s - Roberts ad via. delt., 1778. 
4£ x 3J in. 

Engraved by Thornthwaite. 
No. 81 in Vol. vu. 

46. Miss Prudom as Arbaces in Arne's ' Artaxerxes.' Signed and dated James 
Roberts delt., 1781. 

4f x 2£ in. 

Engraved by Thornthwaite. 

No. 113 in Vol. vn. 

47. Mr. Quick as Judge Gripus in Dryden's ' Amphytrion.' Signed James 
Roberts ad viv. delt. 

44 X 3 in. 

Engraved by B. Reading. 

Quick was the original Tony Lumpkin, 1773. 

No. 132 in Vol. vn. 

48. Mr. Reddish as Young Beville in Steele's ' Conscious Lovers.' Signed 
Js. Roberts delt. 

4 x 3i in. 

Engraved by Thornthwaite. 

Samuel Reddish had a brilliant career of twelve years in London, 1767-1779, 
but his memory failed and he died insane, 1785. 
No. 170 in Vol. vn. 

49. Mrs. Robinson as Amanda in Cibber's ' Love's Last Shift.' Signed and 
dated Js. Roberts delt. 1778. 

4£ x 3| in. 

Engraved by Thornthwaite. 

See note on the portrait of Mrs. Robinson, by Sir Joshua Reynolds, p. 196. 

No. 211 in Vol. vn. 



James Roberts. 



237 



50. Mr. Shoter as Lovegold in Moliere's 'Miser.' Signed and dated Js. 
Roberts ad viv. delt., 1777. 

4JX3 in. 

Engraved by James Roberts. 

Edward Shuter was an actor of the Garrick period, his career lasting from 
1744-1776; he was the original Old Hardcastle and Sir Anthony Absolute. 
No. 107 in Vol. vni. 

51. Mrss Younge as Phaedra and Mr. Smith as Hippolytus. 

4| x 6| in. 

See note on No. 45. 

No. 20G in Vol. vni. 

52. Mr. Vernon as Thdrio in • Two Gentlemen of Verona.' Signed Js. Roberts 

delt. 

4| x 3£ in. 
No. 5 in Vol. x. 

53. Mr. Woodward as Captain Brazen in Farquhar's ' Recruiting Officer.' 
Signed Js. Roberts delt. 

4 x 3J in. 

Engraved by Thornthwaito. 

No. 99 in Vol. x. 

54. Mr. Woodward as Petruchio in Garrick's ' Catherine and Petruchio.' 

4J x Sin. 

No. 104 in Vol. x. 

55. Mr. Woodward as Bobadil in 'Every Man in his Humour.' Signed and 
dated James Roberts ad vivum delineavit, 1776. 

4| x 3 in. 

Engraved by Thornthwaite. 

Henry or 'Harry' Woodward (b. 1714, d. 1777), one of the best of English 
comic actors, specially famous for his Mercutio, Bobadil, and other parts, in 
which lie is said to have had no equal. 

No. 106 in Vol. ix. 

56. Mrs. Wrighten as Madge in 'Love in a Village.' Signed and dated 
Js. Roberts delt. 1781. 

5|x4 in. 

Engraved by Thornthwaite. 

No. 132 in Vol. x. 

57. Mrs. Wrighten as Peggy in Allan Ramsay's 'The Gentle Shepherd. 
Signed Js. Roberts ad viv. delt. 

H X 3| in. 

Engraved by Thornthwaite. 

No. 136 in Vol. x. 

58. Mr. Yates as Malvolio in 'Twelfth Night.' Signed Js. Roberts ad viv. 

delt. 

4|X3 in. 

No. 151 in Vol. x. 

59. Mr. Yates as Don Manuel in Ctbber's 'She Would and She Would Not.' 

Signed and dated Js. Roberts ad viv. delt. 1776. 

4£ x 3 in. 

Engraved by B. Reading. 

Richard Yates (b. about 1706, d. 1796) was chiefly famous for his unsurpassed 
rendering of Shakespearian clowns. 

No. 154 in Vol. x. 

CO. Mrs. Yates as Mandane in Hoole's 'Cyrus.' 

5| X 3J in. 

Mary Ann Yates (b. 1728, d. 1787), wife of Richard Yates, celebrated for her 
power in passionate and mnjestic parts, was one of the greatest of English tragic 
actresses, having no rival till the rise of Mrs. Siddons. 

No. 161 in Vol. x. 



61. Mrs. Yates as Calista in Rowe's 
and dated James Roberts del. 1776. 
4J X 4 in. 
No. 171 in Vol. x. 



The Fair Penitent,' Act y. Signed 



238 



Drawings of the British School. 



62. Mrs. Yates as Calista in ' The Fair Penitent,' Act iv., Sc. 4. Signed and 
dated James Roberts delt. 1776. 

4£ x 3§ in. 

Engraved by Thornthwaite. 

No. 173 in Vol. x. 

63. Mrs. Yates as Isabella in 'Measure for Measure.' Signed James Roberts 
ad vivum deliniavit. 

4f x 3| in. 

No. 179 in Vol. x. 

64. Mrs. Yates and Master Pullen as Isabella and Child in Garrick's 
« Isabella, or the Fatal Marriage.' 

4J x 4J in. 

Engraved by Thornthwaite. 
No. 182 in Vol. x. 
[Nos. 65-69.] Portraits of Garrick, placed with a collection of Garrick portraits 
and purchased with the Burney collection, 1817. 

65. Garrick as Abel Drugger in Jonson's ' Alchemist.' 

4 x 3 in. 

Engraved by Thornthwaite. 

66. Garrick as Demetrius in Young's 'The Brothers.' Signed /. Roberts ad 
viv. delt. 

5 x 3J in. 

Engraved by Thornthwaite. 

67. Garrick as Periander in Millet's ' Eurydice.' 

4f x 3J in. 
Engraved by Wilson. 

68. Garrick as Sir John Brute in Vanbrugh's ' Provoked Wife.' 

5 x 4 in. 

69. Garrick as Baves in the Duke op Buckingham's ' Rehearsal.' Signed 
J. Roberts delt. 

4| x 3 in. 

Engraved by Pollard. 

David Garrick (b. 1717, d. 1779), the most famous of English actors, distin- 
guished by extraordinary versatility of gift, playing comic and tragic parts with 
equal success; first appeared in London as Richard III., 1741, creating a fever 
of admiration, and maintained his supremacy till his retirement in 1776; 
manager of Drury Lane, and writer of many prologues and some plays. 

ROBERTSON, George (b. about 1748, d. 1788). Landscape painter; 
born in London ; studied in Rome ; worked for some time in Jamaica, 
afterwards in London ; painted chiefly in water colours, rarely in 
oils ; many of his landscapes were engraved. 

1. Landscape Composition. Part of a forest, through which a stream flows down 
into the r. foreground; at the 1. a young shepherd with a crook, starting at the 
approach of an old man, holding a paper in his hand, behind whom some fluted 
columns are partly seen among the trees ; in the stream, near a low waterfall, 
some goats and oxen. 

Water colours and Indian ink ; roy., llg x 16J in. 

Purchased August, 1875. 



ROBERTSON, James (worked about 1847-1855). Landscape painter; 
biography unknown. 

1. Album containing 53 leaves of a sketchbook (about 4 x 6| in.), all except two 
having sketc es on both sides, landscape studies of English and Italian or Swiss 
scenery ; in water colours or monochrome, with pen outlines. 

2. Album containing 49 leavep of a sketchbook, all having landscape sketches on 
both sides similar in size, character, and material to the last. 

Both purchased October, 1872. 



J. Robinson. — W. Robinson. — W. R. Robinson. — G. F. Robson. 239 

ROBINSON, — (worked about 1850). Landscape painter. 

1. A Windmill. A windmill 1. by a road, with the miller carrying a sack out to a 
cart waiting in the road. 

Water colours on greenish paper, heightened with white; circle, 5 in. diam. 

Purchased October, 1872. 



ROBINSON, John (b. 1715, d. 1745). Portrait painter; born at Bath ; 
pupil of Vanderbank ; took the house of Charles Jervas on his death, 
but could not keep that painter's practice, though he had some success 
before his early death. 

1. Portrait of the Artist. Head in three-quarter face turned 1., eyes looking 
full ; wearing wig. Inscribed below a ruled border Robinson. 

Indian-ink wash and pen ; 5 x 4£ in. 

Attributed to the artist's own hand, but more probably a drawing after 
Robinson's portrait of himself. 

Purchased June, 1881. 



ROBINSON, W. (worked about 1767). 
City of London. 



Draughtsman ; surveyor to the 



1. Elevation op a West Front pon the Royal Exchange. With scale of feet. 
Signed and dated W. R. Aug'. 1767. 

Indian-ink wash and pen ; 1\ X 13£ in. 

No. 62 in Portfolio XXVI. of the Crace Collection of London Views, pur- 
chased November, 1880. 



ROBINSON, W. R. (worked about 1831). 
unknown. 



Landscape painter ; biography 



Bothall Castle, Northumberland. A road lending to the village, in the 
middle of which 1. rises the castle keep; trees and hills beyond ; an old woman 
on the road going towards Bothall. Signed and dated W.R.R. 1831. Inscribed 
Bothall Castle. Northumberland. 
Sepia ; roy., 7£ x 12 in. 

Dunstofnage Castle, Scotland. View of a lake surrounded by hills and 
dotted with islands, on one of which is the caslle ; in the foreground a man and 
a dog r., and a woman on a path leading to a cottage by the shore. Signed 
W. R. Robinson, and inscribed Dunstofnage Castle, 1831. 
Sepia; 8& x 12J in. 

Both purchased May, 1881. 



ROBSON, George Fennel (b. 1788, d. 1833). Water colour painter; 
born at Durham ; from 1806 lived in London, but best known for his 
many landscapes of the scenery of the Scottish Highlands, also of the 
mountains and lakes of Wales and Ireland ; member of the Water 
Colour Society, with which he was a constant exhibitor. 

1. View in the Hiohlands; after Sunset. A rocky valley, down which a stream 
winds through pastures, with cattle and sheep scattered on the grass; a fisher- 
man by the shore 1. ; beyond the enclosing hilhs appears a purple range of jagged 
peaks under the afterglow of sunset and the new moon 1. 
Water colours ; roy., 8^ x 12£ in. 

Bequeathed by Henry Vanghan, Esq., August, 1900. 






240 



Drawings of the British School. 



ROMNEY, George (b. 1734, d 1802). Painter ; born at Dalton-in- 
Furness ; pupil of Christopher Steele ; worked at York and Kendal 
till 1762, afterwards in London, except for two years in Italy, 1773—5, 
winning brilliant success and dividing with Reynolds the patronage of 
society till 1800, when he returned to Kendal with broken health and 
failing mind ; famous for his portraits, especially the numerous 
studies (many in fancy characters) of Lady Hamilton. 

1. Study for the Picture of Shakespeare's ' Tempest.' The ship, with the crew 

and passengers in confusion, and Ferdinand at the 1. with arms raised about to 
leap overboard ; at the r., Prospero and Miranda hidden by a cloud. 
Indian ink, brush and pen, rough sketch ; roy., 12.J x 18J in. 

2. Sketch for a Head of Satan. The face of Satan grinning with rage. 

Rough pencil sketch ; 12£ x 9£ in. 

3. Sketch for a Child's Portrait. A child standing 1. with lifted hands and 
holding the boughs of a tree. 

Rough pen-and-ink and pencil sketch ; roy., 13J x 10| in. 

4. Sketch for the Portrait of a Lady. Sketch of a lady, three-quarter length, 
seated facing to front and r., the head in turee-quarter face turned r. and 
looking r., one hand raised to chin, the other hanging down ; a tree behind 1. 

Brush and sepia over pencil sketcli ; roy., llf x 9f in. 

5. Study of a Girl Asleep. A girl seated in a cbair, facing to front, with arms 

folded and head inclined 1. on the back of the chair, asleep. 

Pencil sketch ; roy., 8£ X 6g in. 

This sketcli recalls the four pictures of Miss Honoria Sneyd as ' Serena,' and 
may be a study made from that lady at the same time. 



Rough study of a path along a sloping field bordered by 



Landscape Study. 
trees. 

Brush and sepia; roy., 11 J x 16 in. 

Nos. 1-6 were presented by Sidney Colvin, Esq., February, 1884. 



7. Sketchbi ok containing studies and sketches in pen-and-ink, except for a few in 
pencil, indicated in their places. 7g X 6£ in. 

f. 1. Ob. Christ and the Woman taken in Adultery (?). Rough sketch. 

Rev. A Man with a Spear. 
f. 2. Ob. Macbeth and the Witches. 
f. 3. Ob. Macbeth and the Witches. Rough sketch. 
f. 4. Ob. Macbeth and the Witches. Rough sketch. 

Rev. Study of Macbeth's Figure. 
f. 5. Ob. Slight Study for Portrait Group of Two Ladies. 

Rev. The Witches. Very slight. 
f. 6. Ob. The Witches. Very slight. 

Rev. Macbeth and the Witches. 
f. 7. Ob. Macbeth and the Witches. 

Rev. The same Subject. 
f. 8. Ob. Study for Macbeth. 
f. 9. Ob. Macbeth and the Witches. 

Rev. The same Subject. 
f. 10. Ob. The same Subject. 
f. 11. Ob. The same Subject. 
f. 12. Rev. Thuee Studies. Two draped figures and a face. 



George Romney. — Michael Booker. 



241 



f. 13. Rev. Study for the Portrait of a Lady Skated, Half Length. 

f. 14. Rev. Study for a Picture. 

f. 16. Rev. Head of an Old Man. 

f. 17. Rev. A Man Beading under a Tree. 

f. 18. Ob. A Standing Figure. 



f. 19 



Pencil. 

Ob. A Nymph Bathing. 
Pencil. 

20. Ob. Oallisto and the Nymphs of Diana. 

21. Rev. Mother and Child Seated under a Tree. 

22. Ob. The same Subject. Slight sketch. 
Rev. The same Subject. Slight sketch. 

23. Ob. Seated Woman Asleep. 

Rev. Mother and Child Seated. Slight sketch. 

24. Ob. Study for the Portrait of a Girl. 
Rev. Two Studies of a Man's Head. 

25. Rev. Head of a Woman; and a Mother and Child. 

26. Rev. Head of a Woman, Looking Down. 

27. Rev. Head of a Child, Laughing. 

28. Ob. A Woman's Head in Profile. 
Pencil. 

Rev. Head of a Youth, with Fillet Bound the Hair. 

29. Rev. Slight Studies of Heads. 

30. Ob. Slight Studies of Heads. 

Rev. An Old Man's Head; and Head of One of the Witohes in 

' Macbeth.' 

31. Rev. Head of a Man in a Cap. 

32. Rev. Head of King Lear. 

33. Rev. Two Studies of Faces Frowning. 

34. Rev. A Man's Face Smiling. 

35. Rev. Head of a Man Wearing a Cap. 

36. Rev. Head of a Man in a Cap. 

37. Rev. Two Studies of Faces. 

38. Ob. Three Slight Studies of Figures. 

Rev. Two Studies of an Old Woman's Head. 

39. Rev. Head of a Bald Man. 

40. Ob. Hope Appearing to Misery (?). Study for a picture. 

41. Rev. Three Male Heads. 

42. Rev. Three Studies of an Old Woman's Head. 

43. Ob. A Man Leaning on a Stick. 

Rev. Slight Sketch of a Standing Figure. 

Purchased May, 1896. From the collection of Mr. Laurence Bomney. 



HOOKER, Michael (called Michael Angelo), A.R.A. (b. 1743, d. 
1801). Water-colour painter and engraver ; son of Edwurd Rooker ; 
taught engraving by his father and drawing by Paul Sandby ; elected 
A.R.A. 1770 ; engraved for the ' Copper-plate Magazine ' and ' Oxford 
Almanack ' ; was scene painter at the Haymarket Theatre, but best 
known by his tinted drawings of landscape and architecture. 






242 



Drawings of the British School. 



1. Farmyard, Thetford, Norfolk. A yard, with part of the back of the farm- 
house 1. ; doves ou the tiled roof, and a girl at a balcony talking to a man with 
a wheelbarrow below ; near the man are some goats, and in the r. foreground a 
dog standing by three barrels; at the r. a view down the stable yard, where two 
horses are standing, and a third horse is being groomed. Signed M. Booker. 

Water colours and Indian ink ; roy., 6£ x 8| in. 

Purchased February, 1857. 

2. Porch of Montagu House, the old British Museum. View looking E. along 

Great Russell Street, with the porch of Montagu House at the 1. ; a coach coming 
along the road, a eedan chair on the 1. pavement, and children at a fruit-stall 
against the wall; other figures in the street. Signed and dated M. Rooker 
delin. 1778. 

Water colours and Indian ink ; roy., 6J X 8 in. 

3. View of a Castle. View down a steep road between high wooded banks, to a 
village on the further slope of a grassy hollow; above the village, towards the 
r., the remains of a castle on a high mound : a man, woman and dog going down 
the roail in the foreground, and a horseman coming up it. Signed M. Rooker. 

Water colours and Indian ink ; roy., 8 J x lOf in. 

Nos. 2 and 3 were purchased March, 1868. 

4. Landscape with Castle and Cathedral. A road winding down to a river 
from which rises r. a cliff, surmounted by a ruined castle ; beyond the river, the 
high opposite bank of which is fringed with woods, a town and cathedral, and 
in the distance a chain of hills; in the foreground, a woman with a child sitting 
under a group of trees growing from a rocky bank, and a man and woman 
talking to her ; two other figures near the river. 

Indian ink and water-colour tint ; imp., 17 X 13| in. 

5. Entrance to a Park : Unfinished. The entrance to a park with lodge r. 

and trees in front of it ; inside the park a tower (pencilled only) ; a road coming 
through the gate into the foreground with trees overhanging a stream at the 1. 
Signed (in a later hand) M. A. Rooker. 

Indian ink and water-colour tint ; imp., 18 X 13$ in. 

Purchased June, 1889. 

C. Illustrations to an edition of the ' Dramatick works of Beaumont and Fletcher,' 
1778, 10 vols., 8vo. 

(1) The Faithful Shepherdess, Act V. Clorin trying to heal Amoret, who 
lies back in the Satyr's arms; Daphnis and Cloe in a hollow tree behind. 

Water colours and Indian ink ; 6£ x 4 in. 1 
Engraved by C. Grignion, Vol in., p. 114. 

(2) The Mad Lover, Act V. Memnon about to kill himself, but stopped by 
Poly dor, who rises from his pretended bier. Inscribed Mem. And now 111 
follow thee. Pol. Hold for Heavens sake. 

Water colours and Indian ink ; 6| X 3f in. 
Engraved by J. Collyer, Vol. m., p. 212. 

(3) Rule a Wife, and Have a Wife, Act III. Margarita and her guests 
interrupted by Leon. Inscribed Mar. Wliy, Sirrah, why Sirrah you? 
Leon. I hear you Saucy Woman, and as you are my Wife, command your 
absence, And hnoio your Duty, 'tis the Crown of Modesty. Act. 3. 

Water colour and Indian ink ; 6§ x 3| in. 
Engraved by C. Grignion. Vol. ni., p. 420. 

(4) The False One, Act II., Sc. 1. The head of Pompey brought to Caesar. 
Inscribed Cxsar. Oh, Sceva, Sceva, see that head 1 See, Captains, the head 
of godlike Pompey ! Act 2d. 

Water colours and Indian ink ; 7 x 3J in. 
Engraved by C. Grignion, Vol. iv., p. 76. 



The measurements of these illustrations include the ornamental frame border. 



Michael Hooker. 



243 



(5) The Little French Lawyer, Act II., Sc. 2. La-Writ fighting with 
Beanpre, and standing on his sword. Inscribed La-writ. Stand further 
off yet and stand quietly, And look another way, or Til be with you. Is this 
all? Ill undertake within these two days to furnish any Cutler in the 
Kingdom. 

"Wuter colours and Indian ink; 6§ x 3§ in. 
Engraved by C. Qrignion. Vol. iv., p. 170. 

(6) The Chances, Act I., Sc. 9. Don John with the Landlady and Child. 
Inscribed Landlady : — As I live, your own Eyes, Signior, and the nether 
Lip, As like ye, as ye had spit it, Act 1st. 

Water colours and Indian ink; 6§ x 3f in. 
Engraved by G. Collyer. Frontispiece to Vol. v. 

(7) The Lovers' Progress, Act II. Lisander reproachiDg Clarange and 
Lidian, who have been righting. Inscribed Lis : That part of noble Love 
which is most sweet, And gives eternal Being to fair Beauty — Honour, y>u 
hack a pieces with your Sioords, And that ye fight to crown, ye kill, fair 
Credit. 

Water colours and Indian ink ; 6§ x 4 in. 
Engraved by J. Goldar. Vol. v., p. 3G2. 

(8) The Pilgrim, Act III., Sc. 6. Alinda discovered by Pedro in the Mad- 
house. Inscribed Let me hold thee ; And now come all the world and all 
that hate me. 

Water colours and Indian ink : 6g x 4 in. 
Engraved by C. Grignion. Vol. v., p. 452. 

(9) The Captain, Act V., Sc. 4. Frank weeping and kneeling before 
Jacomo. 

Water colours and Indian ink ; 6g x 3f in. 
Engraved by C. Grignion. Frontispiece to Vol. vi. 

(10) The Prophetess, Act II., Sc. 3. Diodes plighting himself to Aurelia 
and witnessed with indignation by Delphia and Drusilla from their magic 
chariot. Inscribed I)io. — Upon my knees I thus receive you ; & so you vouch- 
safe it This day I am doubly married, to the empire And your best self. Delp. 
False and perfidious villain ! Act III. 

Indian ink ; 6J x 4 in. 

Engraved by J. Collyer. Vol. vi., p. 108. 

(11) The Knight of the Burning Pestle, Act III. Ralph bestriding the 
prostrate barber and calling on the 'captive knight' to tell his wrongs. 
Inscribed Ralph. Speak what thou art, and how thou hast been us'd, That 1 
may give him condign Punishment. 1 Knight. I am a Knight — 

Water colours and Indian ink ; 6$ X 4 in. 
Engraved by C. Grignion. Vol. vi., p. 374. 

(12) Love's Pilgrimage, Act II., Sc. 2. Leocadia and others brought by 
Diego to Theodosia and Philippo in the wood. Inscribed Theo. — Alas ! 
he's cold; mine Host, we must intreat your cloak. Host. Can ye intreat it. 

' Act 2. 

Indian ink ; GJ X 4 in. 

Engraved by C. Grignion. Frontispiece to Vol. VII. 

(13) The Maid in the Mill, Act V., Sc. 2. Florimel discovered in Otrante's 
house. Inscribed Phil, is this your Daughter ? Fra. Yes, and 't phase 
your Highness, This is the Shape of her ; for the substance, Sir, Whether she 
be now honourable or dishonourable, Whether she be a white rose or a Canker, 
is the Question. 

Indian ink ; 6f X 3f in. 

Engraved by C. Grignion. Vol. vn., p. 202. 

(14) The Knight op Malta, Act IV., Sc. 2. Oriana appearing from the tomb 
to Miranda and Norandine. Inscribed It looks about, and wonders; sure 
she lives, Sir. "lis she, 'tis Oriana. 

Indian ink ; G£ x 3f in. 

Engraved by J. Collyer. Vol. vn., p. 29J. 

B 2 






244 



Drawings of the British School. 



(15) Love's Core, or The Martial Maid, Act II., So. 2. Clara upbraiding 
Bobadilla. Inscribed Now, thou lean, dried, and ominous-visag'd knave, 
Thou false and peremptory steward, pray, For I will hang thee up in thine 
own chain. 

"Water colours and Indian ink ; 6£ X 4 in. 
Engraved by C. Grignion. Vol. vn., p. 396. 

(16) The Night-Walker, or The Little Thief, Act II., Sc. 2. Toby and the 
Nurse frightened by Lurcher and Alathe disguised as a ghost. Inscribed I 
have no Powir to pray; it grows still longer, 'Tis steeple high now and it 
sails away. Nurse. Let's call the Butler up, for he speaks Latin, And that 
will daunt the Devil, Act 2d. 

Water colours and Indian ink ; 6J x 3J in. 
Engraved by J. Collyer. Vol. viii., p. 92. 

(17) The Woman's Prize, or The Tamer Tam'd, Act V., Sc. 4. Pefruchio 
borne in his coffin and rising from it to face his wife. Inscribed Petru. — Oh 
Maria, Oh my Unhappiness, My Misery. Petru. Go to him. Act 5th. 

Water colours and Indian ink ; 6f x 3 J in. 
Engraved by C. Grignion. Vol. viii., p. 276. 

(18) The Noble Gentleman, Act V. Shattilion pulling Marine from his 
throne. 

Water colours and Indian ink ; 6| X 3J in. 
Engraved by C. Grignion. Vol. viii., p. 382. 

(19) The Sea Voyage, Act II. Albert discovered on the sea shore by 
Hippoiita, Crocale, and Juletta. 

Water colours and Indian ink ; 7 x 4 in. 
Engraved by J. Collyer. Vol. ix., p. 80. 

(20) The Coxcomb, Act I. Viola seized by Eicardo and his drunken com- 
panions. Inscribed Pedro. Let go the wench ! Silvio. Let you go the wench ! 
Viola. Oli, gentlemen, as you had Mothers. 

Water colours and Indian ink ; 6§ X 3f in. 
Engraved by C. Grignion. Vol. ix., p. 154. 

(21) Wit at Several Weapons, Act IV. Sir Euinous and Lady Euinous 
brought before Oldcraft and Wittypate. Inscribed L. Ruin. Hang one of 
'em I will certain. I ha' swore it, And 'twas my Luck to light upon this first. 
Old K. A Cambridge man for this 1 ? these your Degrees, Sir ? Nine years at 
University for this Fellowship ? Act 4. 

Water colours and Indian ink ; 6^ X 3£ in. 
Engraved by C. Grignion. Vol. ix., p. 244. 

(22) The Fair Maid of the Inn, Act II. Cesario pleading with his father for 
mercy to Mentivole. Inscribed Oh, Sir, for Honour's sake stay your foul 
Purpose, For if you do proceed thus cruelly, There is no question in the 
wound you give him I shall bleed to death for't. 

Water colours and Indian ink ; 6| x 3$ in. 

Engraved by J. Collyer. Vol. ix., p. 340. • 

(23) Cupid's Eevenge, Act I. The Princess Hidaspes asking her father to let 
her marry the dwarf Zoilus. 

Water colours and Indian ink ; 6| X 3| in. 
Engraved by J. Collyer. Vol. ix., p. 436. 

(24) The Two Noble Kinsmen, Act III., Sc 1. Palamon upbraiding Arcite 
in the wood. Inscribed falsest Cousin That ever Blood made kin, call'st 
thou her thine? Pll prove it in my Shackles, with these Hands, Void of 
Appointment, that thou ly'st, and are a very Thief in love. Act 3d. 

Indian ink ; 6| x 35 in. 

Engraved by J. Collyer. Frontispiece to Vol. x. 

(25) Thierry and Theodoret, Act IV., Sc. 1. Ordella entreating Thierry to 
kill her. Inscribed Strike, Sir, strike ; And if in my poor death fair France 
may merit, Give me a thousand Blows, be killing me a thousand Days. 

Water colours and Indian ink ; 6£ X 3$ in. 
Engraved by J. Collyer. Vol. x., p. 126. 



M. Rooker. — Sir J. Boss. — Sir W. C. Boss. 



245 



(26) The Woman Hater, Act III., Sc. 3. Lazarillo and Valore overheard by 
the two Intelligencers. Inscribed My Lord, what do you think, if I should 
shave 7» y self ; Put on Midwives Apparel, come in with a handkerchief, and 
beg a Piece for a great belly' d Woman or a Sick Child? Act 3d. 

Water colours and Indian ink ; 6§ x 3f in. 
Engraved by C. Grignion. Vol. x., p. 216. 

(27) The Nice Valour, Act III., Sc. 1. Cupid pleading with the Passionate 
Lord. 

Water colours and Indian ink ; 6J X 4J in. 
Engraved by C. G-rignion. Vol. x., p. 316. 

(28) The Honest Man's Fortune, Act V., Sc. 1. Montague threatening La- 
Poop and Malicorn. Inscribed fear still ;' Twill be revenge enough to keep 
you waking. Ye have no mind of Marriage, ha' ye ? La-P. Surely no 
great mind now. Act 5th. 

Water colours and Indian ink ; 6J x 5 in. 
Engraved by J. Collyer. Vol. x., p. 388. 

Purchased July, 1859. 



ROSS, Sir John (b. 1777, d. 1856). Arctic navigator and amateur 
draughtsman ; served in the Navy, but best known by his three 
Arctic voyages in 1818, 1829, and 1849. 

1. The North Pole. Imaginary sketch of the North Pole, a low ridge of rock 
surrounded by ice-floes and with the Union Jack planted on it. 
Water colours ; roy., 4| x 7g in. 

Purchased October, 1872. 



ROSS, Sir William Charles, R.A. (b. 1794, d. 1860). Miniature 
painter ; born in London ; son of William Ross, a miniature painter ; 
studied at the Royal Academy ; exhibited classical subjects in his 
youth, afterwards devoted himself to miniature portraits, holding an 
unrivalled position for the rest of his career ; painted the Queen and 
royal family ; elected A.R.A. 1838, R.A. 1843 ; knighted 1842. 

1. Portrait Sketch of a Lady. Half length of a young lady facing to front, in 
full face, brown eyes looking full ; hair in ringlets. 

Pencil, the head tinted with water colours ; roy., 8J X 6§ in. 
Purchased October, 1867. 

2. Portrait Sketch of the Hon. Cavendish S. Boyle. Whole length, seated 
sideways on a chair, with clasped hands resting on the back of it ; facing the 
front, but with head turned r. and looking r. ; wearing a broad-brimmed soft 
hat. Signed and dated W. C. Boss, 1835. 

Pencil ; roy., 12£ x 9£ in. 

Cavendish Spencer Boyle, b. 1814, d. 1868 ; third son of Admiral Sir Courtenay 
Boyle. 

Purchased October, 1872. 

3. Portrait of William Ross. Head and bust of an old man, turned to front 
and r., head nearly in full face, looking a little r. Inscribed W. Boss. 

Black and red chalks, oval; roy., llf x 9g in. 

William Boss, the artist's father, exhibited at the Royal Academy from 1809 
to 1825 ; he was a miniature painter and teacher of drawing. 

Purchased April, 1901. 



246 



Drawings of the British School. 



ROSSETTI, Dante Gabriel (b. 1828, d. 1882). Painter, designer and 
poet ; born of Italian parents, in London ; studied drawing at King's 
College under Cotman, and at the Royal Academy ; influenced at first 
by Madox Brown, from whom he sought advice and help ; with Holman 
Hunt and Millais founded the Pre-Raphaelite Brotherhood ; famous 
for the originality and intensity of his imagination and his power as a 
colourist ; painted in oils and (especially in his earlier time) in water 
colours ; made also important pen drawings and designs for book 
illustrations and stained glass, etc. ; an artist of unparalleled influence 
on the art of his age. 

1. Sir Galahad Receiving the Holy Grail ; Design for the Decoration of 
the Oxford Union. Design for a compartment pierced with two circular 
windows. The interior of the chapel of the Grail : at the 1. the Grail maiden 
gives the grail to Galahad, who takes it in his r. hand ; his 1. hand, stretched 
behind him, clasps the hand of Sir Percival, behind whom at the extreme r. Sir 
Burs is partly seen ; the three knights are clothed in mail, with surcoats and 
swords; their heads, reverentially bent, are bare; juvt beyond their feet is the 
recumbent figure of Sir Percival's sister At the back a row of Angels, with 
wings crossed, look on ; and behind the Grail maiden at the extreme 1. is an 
altar, over which hovers the holy dove, with a censer in its beak. Over the 
knights' heads are the names Dom Galahad, Dom, Percival, & Bom Bors; over 
the recumbent figure is Soror D. Peroical. 

Pen-and-ink ; roy., 9J X 13$ in. 

Eeproduced in H. C. Marillier's 'Rossetti,' 1899, p. 91. 

This drawing preserves the design for one of two companion subjects intended 
for part of the decoration of the debating-hall, now a reading-room, of the Oxford 
Union; the other subject, ' Lancelot, prevented by his sin from entering the 
chapel,' was the only one actually painted, and that was never completed. Six 
other artists, including Burue-Jones and William Morris, shared in the under- 
taking, each engaging to paint a compartment with an Arthurian subject. The 
paintings were begun in 1857 ; but being executed in tempera on a mere layer of 
whitewash over the brick wall, decayed and perished almost immediately. Two 
compartments were unprovided for, and for one of these Rossetti made a third 
design, ' Lancelot escaping from Guenevere's Chamber.' Of the present subject 
he also made a water-colour veision in 1864. 

Purchased June, 1885. 

2. Whiting on the Sand. A gentleman and lady on the sea shore ; she stands 
still while he, holding her hand in one of his, sketches her profile with his stick 
on the sand 1., lo iking up r. to her face; his hat has blown off and hangs on his 
shoulder by the hat-guard; the lady holds her hat and sunshade in her hand 
and the wind ruffles her yellow hair and blows her blue skirt about; behind the 
pair is the sea, bordered r. by a curving sweep of sand, backed by low cliffs 
against a richly-coloure 1 after-glow; at some distance is a group of boys on the 
shore, stripped for bathing, one of them racing down to the water. Signed with 
monogram and dated 1859. 

Water colours ; roy., 10§ x 9 J in. 

Reproduced in Marillier's 'Rossetti,' p. 219. The man's figure was a portrait 
of Mr. R. R. Holmes, afterwards the Queen's, now the King's, Librarian. 
Purchased June, 1886. 



ROUVIERE, M. (worked about 1789), Draughtsman ; biography 
unknown. 

1. The South Front op the Old Manor Hoise, Marylebone. Schoolboys 
playing iu the foreground. Inscribed sketch of y e South-view of Mrs. Fountaine's 
(Mary-bone school). Drawn on y" spot, Septr. 12, 1789. M. Rouviere. 
Water-colour sketch, with pen outlines; 9£ X 13J in. 

No. 71 in Portfolio XXX. of the Grace Collection of London Views, purchased 
November, 1880. 



T. C. L. Bowbotham. — T. Roivlandson. 



247 



ROWBOTHAM, Thomas Charles Leeson (b. 1823, d. 1875). Land- 
scape painter ; born in Dublin ; pupil of his father, T. L. Rowbothani ; 
member of the Royal Institute of Painters in Water Colours ; 
succeeded his father as professor of drawing at the Royal Naval 
School, New Cross; worked chiefly in London. 

1. The Thames from Waterloo Bridge. View from Waterloo Bridge looking 
to Bluckt'riars Bridge, St. Paul's and the City, with the terrace of Somerset 
House at the 1. 

Pencil on greenisb paper, heightened with white ; roy., 9| x 14£ in. 
Purchased October, 1872. 



ROWLANDSON, Thomas (b. 1756, d. 1827). Water-colour draughts- 
man and caricaturist ; born in London ; studied at the Royal 
Academy and in Paris ; started as a portrait painter with consider- 
able success, but soon turned more and more to tinted pen-and-ink 
drawings, and became famous through countless etchings for his 
scenes of daily life and manners, all more or less tinged with carica- 
ture, and his social and political satires ; illustrated a number of books 
and novels, mostly humorous ; a boon companion of Morland, Ibbetson, 
and J. R. Smith ; noted for power and prodigality of invention and 
for facility of execution, no less than for the grace pervading even 
much of his coarsest work. 

[1-11.] Social caricatures and scenes of daily life. 

1. The Extravagant Wife. A lady sitting expectant with her eyes on an old 
Jew seated beside her 1., who is examining her case of jewels offered for pur- 
chase ; the lady holds one hand open on her lap for the money, with the other 
beckoning to her maid who stands behind her chair r. holding a plate in her 
hand and eyeing the jewels; a steaming tea-urn appears in the background and 
a window 1. 

Indian-ink wash and pen, very slightly tinted; roy., 9 x 11& in. 

2. The Enraged Husband. A companion scene to the last. The lady sits r., with 

folded hands, casting up her eyes, while her husband, sitting on another chair 1., 
holds an immense milliner's tall in his hand and storms at her extravagance ; 
the tradesman, a massive figure, hat in hand, stands behind with a sullen eye 
on the lady, and the maid, with a frightened backward glauce at her mistress, 
escapes through the door 1, 

Indian-ink wnsh and pen, very slightly tinted ; roy., 9J x 11{§ in. 

Nos. 1 and 2 were presented by E. Gilbertson, Esq. 

3. The Careless Wife. A young woman seated r. on a couch, with a baby on 
her knee, listening to the flatteries of a young buck seated beside her; a dog at 
the man's feet 1. ; a fireplace aud hanging birdcage slightly sketched in the 
foregn >und. 

Pen and madder, with Indian-ink wash and slight tint ; roy., 9 X 9£ in. 
A copy of this drawing is also in the department and catalogued below. 
Purchased November, 1885. 

4. Christie's Auction Eoom. A large room with a skylight, the walls crowded 

with pictures, one of which, a ' Recumbent Venus ' is being held up by two 
workmen 1., while the auctioneer lauds its merits to the crowd of buyers and 
onlookers in the foreground ; at the r. a group of connoisseurs round a fireplace, 
one of them examining a bust through his eye-glass. 

Water-colour wash and pen ; roy., 8 x 11 J in. 

Sketch for an illustration to Ackerman's ' Microcosm of London,* Vol. I., p. 3 
(published Feb. 1, 1808). The published aquatint, in whi-h the crowd of figures 
is re-arranged and altered, aud the architectural foreground supplied by Pugin, 
is mounted opposite the drawing. 



248 



Drawings of the British School. 



5. Sunday in Camp. A hill-side sloping to the r., where tents are seen in the 
valley : at the 1. under a tree a chaplain preaching from an improvised pulpit of 
drums ; on the slope in the foreground are reclining groups of soldiers and their 
wives and children, others standing in a throng around. 

Water colours and Indian-ink wash and pen ; roy., 9J x 12 in. 
Published as an aquatint. The print, coloured by hand, is mounted opposite 
the drawing. 

Nos. 4 and 5 were purchased April, 1899. 

6. The Kace foe Doggett's Coat and Badge. The Thames at Chelsea, looking 
up the river, with the White Swan inn on the r. bank, a flag flying from its 
roof; in the foreground appears the finish of the race of six watermen followed 
by boats with cheering spectators, others of whom are on a cluster of boats and 
barges 1. ; a crowd also on the bank in front of the inn and under trees beyond, 
lifting hats and shouting. 

Indian-ink wash and pen, slightly tinted; roy., 9J x 15 in. 
Keproduced in the 'Monthly Review,' 1901. 
Purchased July, 1856. 

7. A Smock Pace at a Country Fair. Four young women running a foot race 
in bare feet along a course from r. to 1., the last runner having just tripped over 
a dog; behind the ropes enclosing the course is a struggling and cheering 
crowd, some of them standing on a waggon ; at the r. a horse in a dog cart is 
plunging and scattering the spectators; in the 1. foreground a group of men 
fighting and others blowing horns, one man on stilts, another under a bench, 
boys waving caps from a tree above : the race is followed by a mau and woman 
on a donkey, a bald man running, and a dog ; behind, a sloping common with 
booths and groups of people on horse and foot ; in the 1. distance a church with 
two spires. Signed Iiowlandson. 

Indian-ink wash and pen, slightly tinted ; roy., 9£ X 14£ in. 
Purchased July, 1876. 

8. The Rich English in Paris. A square, with an arcade in the background : 
an English lady in a coach is being driven across the square to the 1., the 
coachman (in green and yellow livery) whipping the two horses furiously, and a 
running footman in the same livery preceding the coach and pointing the way : 
around the pillars of the arcade at the back are groups of ladies and gentlemen 
talking; at the r. a group of three lawyers in gowns, suggesting that the 
building with the arcade is a Law Court. 

Indian-ink wash and pen, slightly tinted ; roy., 6 X 9£ in. 

Purchased October, 186G. 

9. The Trout Fisher, rising. A bed-room, in which the trout fisher, sitting on 
a chair 1., is pulling on his stockings with a fearful yawn, by the light of a 
candle set on the carpet; his wife, a plethoric figure, is still asleep in bed; 
fishing-tackle and basket on the floor. Inscribed The Trout Fisher rising, and 
signed and dated, Eoiolandson, 1818. 

Indian-ink wash and pen, slightly tinted ; roy., 5f X 9| in. 
Purchased July, 1856. 

10. The Drunkard. A cellar with barrels of liquor, before one of which lies a 
drunken man on his back, the tap spirting over him, and a broken jug on the 
floor ; his wife, at the foot of the steps r., is trying to rouse him by beating his 
head with a broom. 

Indian-ink wash and pen, slightly tinted; roy., 6J X 8 in. 
Purchased June, 1851. 

11. A Prize Fight. The end of a fight; one of the boxers r., a long, lean figure, 
has collapsed, with shapeless face, into the arms of his supporter; his antagonist, 
who is short and burly, still stands with hands up, inviting another attack, and 
his second slaps him on the shoulder; two men at the r. dance and shout 
with delight ; behind is a shadowy crowd of excited figures ; in the 1. foreground 
a dog. 

Pen-and-ink, rough sketch, washed with Indian ink ; roy., 7| X 12J in. 
Purchased July, 1856. 



Thomas Bowlandson. 



249 



12. Portsmouth Harbour. View from Portsmouth 'Hard,' with a number of 

ships, some with sails partly set, in the harbour, aud boats at the water's edge 
or just putting off, with sailors busy about them, and groups of passengers ; in 
the 1. foreground a family party walking up from a boat which has just landed, 
their luggage preceding them on a wheelbarrow. Inscribed Portsmouth 
Harbour, and signed and dated Rowlandson 1816. 
Water-colour tint and pen ; roy., 12 x 17J in. 

Purchased June, 1862. 

13. An Inn Yard. An inn yard with buildings r. and 1. ; in the middle a post- 
chaise, from whicli a stout gentleman is alighting gingerly, while an ostler leads 
off the horse into the stable 1. ; behind is a postboy on another horse, and two 
women talking in a doorway ; in the r. foreground a fat lady giving a cup of 
wine to an equally fat gentleman, and another lady talking to a lean officer ; 
two children playing with a dog near, and chickens feeding 1. In the r. back- 
ground a man helping a lady to alight from a chaise. Signed and dated 
Bowlandson 1821. 

Water-colour tint and pen ; roy., 5£ X 9£ in. 

Purchased October, 1862. 

14. A Butcher's Shop. View of a butcher's shop, a long low building abutting on 
a house behind, with men and women marketing and loitering ; further r. is a 
poulterer's shop, forming part of the same building, and a glimpse beyond up a 
rambling street ; near the foreground r., part of a house-front in shadow. 

Indian-ink wash and pen, slightly tinted with water colours ; roy., 6| X 9J in. 

Presented by John Henderson, Esq., January, 1863. 

15. Smithfield Market. View over Smithfield looking towards St. Bartholomew's, 

the tower of which appears above the houses in the further corner of the square, 
a little to the 1., with St. Paul's dome further 1. ; the space is crowded with pens 
of sheep and rows of cattle and groups of drovers and countrymen ; in the fore- 
ground 1. are two pens of pigs critically looked at by dealers gathered round ; 
a man on horseback is near them, and a boy drives a flock of sheep up the open 
space between them and the sheep pens at the r. 
Water-colour tint and pen ; imp , 15£ x 21^ in. 

Purchased January, 1865. 

16. Greenwich Fair. A Fair in Greenwich Park near a huge old oak ; at the r., 

Kichardson's Show, a stage with the actors and actresses standing in front of 
the curtain, girls beating a drum and fiddling 1., and acrobats tumbling r., while 
a crowd is gathered below in front, and two women push up a ladder to the 
platform; a man and woman on horseback, an apple woman, and a dragoon 
with a girl's arm round his waist, are noticeable among the crowd, which is 
augmented by people hastening up from the 1. In the 1. foreground is a parly 
picknicking, and beyond, a gipsy telling fortunes and a Jew pedlar selling 
trinkets : a group of figures is under the oak, and further off are waggons and 
holiday makers lightly indicated in pencil. 
Water-colour tint and pen; unfinished; atl., 16f X 21 § in. 

' Kichardson's Show ' (part of this composition) was etched by the artist and 
published in ' Kowlandson's World in a Miniature,' 1816, pi. 16. 

Purchased August, 1868. 
[17-18] Political Satires. 

17. ' Blood Eoyal.' Portrait of the Duke of Cumberland in the lobby of a public 
building just entered from under an archway r. followed by a footman ; he is in 
top boots' and spurs, hat and whip in hand, and is looking through an enormous 
opera-glass ; at the 1. in the background a back view of the Prince Regent 
talking to two officers. Inscribed 'Blood Boyal.' 

Indian ink and water-colour tint ; roy., 9f X 7j| in. 

Etched by the artist and published by H. Humphry, Jan. 10, 1812, with the 
title ' A Portrait.' 



250 



Drawings of the British. School. 



Ernest Augustus, Duke of Cumberland, b. 1771, d. 1851, was the ablest of 
the sons of George III., and long held ascendency over his weaker brother, the 
Prince of Wales (George IV.) ; he was, however, very unpopular with the 
English people (cf. the sketches by J. Doyle; Vol. II., p. 44; Nos. 2-10, etc.), 
who feared his possible accession to the throne. On the accession of Queen 
Victoria he became King of Hanover. 

Purchased July, 1856. 

18. Ob. The Prince of Wurtemberg's Mission. The Prince of Wiirtemberg intro- 
duced by the Lord Chamberlain (Lord Salisbury) to the Duke of Gloucester ; 
the King and the Duke look each other in the face, the King with a smile, the 
Duke (at the r.) with a by no means friendly expression, and with his hands 
clenched by his side. The figures are numbered 1, 2, 3, and the drawing 
inscribed Lord Salisbury, King of Wiirtemberg, and dated in a later hand 
Nov. 1797 (altered to 1790). There is also to be read the name James Abby 
(the paper having apparently been first used for a letter). 
Water colours and pen; roy., 8 x 6f in. 

The Hereditary Prince of Wiirtemberg was a suitor for the hand of the 
Charlotta Augusta, the Princess Royal, and overtures were made in 1796, but 
George III. is said to have been violently prepossessed against the match, as the 
prince was suspected of having been privy to the death of his first wife. The 
suspicions, however, if they existed, were removed by the prince, and the 
marriage b ok place in May, 1797. The prince became King of Wuitemberg on 
the death of his father in December of the same year. 

JRev. Two Sketches for 'John Bull's Progress.' At the top, a soldier 
hobbling home on one leg and crutches to his wife and children ; below, the 
same soldier marching off gaily r. with a trumpeter, his children tugging at 
his coat tails and his wife and a nurse crying out in despair. Sketches for 
'John Bull Going to the Wars' and 'John Bull's Victorious Return,' the best 
known version of which was issued by Gillray, 1793. 

Purchased August, 1868. 
[19-27] Portrait studies and single figures. 

19 Portrait of George Morland. Whole length of the artist standing with his 
back to a fire and ornamented mantelpiece, his hands behind him and his face 
seen in three-quarters turned 1. and looking 1.; wearing a round hat with turned- 
down brim, striped blue and white waistcoat, green coat and top boots. 
Indian-ink wash and pen, slightly tinted; roy., 12^ X 8£ in. 

For Morland's biography see in this catalogue under his name. According to 
Mr. Grego (Rowlandson, Vol. II., p. 412), this drawing was made 'about 1787, 
wheu Moiland was living in considerable style at a handsome new house, the 
corner of Warren's Piaie, Hampstead.' 

Purchased March, 1868. 

20. Portrait of George Morland. Whole length, standing, facing to front, both 

hands resting on a stick, the face in three-quarters turned r. and looking r., 
wearing a wide-brimmed hat. Inscribed in a later hand Portrait of George 
Morland, P. Sandby. 

Pencil and Indian ink ; roy., 9| x 4£ in. 

The ascription of this drawing by a former collector to Sandby seems to have 
been mere conjecture. It is beyond all doubt by Rowlandson. 

Nos. 19 and 20 purchased March, 1868. 

21. Portrait of George Morland. Whole length, standing, turned partly 1., with 
face in profile looking 1., r. hand holding a whip and 1. hand raised and 
pointing, as if in conversation. 

Pencil ; roy., 9£ X 4£ in. 

22. Portrait of a Gentleman, Whole length, standing, turned to front and 1., 
the face in three-quarters turned 1. and looking 1., 1. hand in breeches pocket, r. 
hand thrust in waistcoat. Inscribed in a later hand Gainsborough. 

Pencil ; roy., 9£ X 4£ in. 



Thomas Bowlandson. 



251 



No. 21 was formerly ascribed to Hoppner, No. 22 to Gainsborough., in either 
case erroneously. Both purchased October, 1872. 

23. A Fancy Poetrait. Whole length of a grinning, snub-nosed man, foppishly 

dressed in a pale bluish coat, with a cane under his arm, advancing in profile 
towards the 1., with a watch aud dangling seals held out in his hands. 

Pen-and-ink and water-colour sketch; roy., 8J X Of in. 

Purchased July, 1873. 

24. Portrait op a Lady. Three-quarter length of a young lady standing facing 

to front with hands crossed, the head a little on one side in three-quarter face 
turned ]., hair falling in curls on the shoulders under a wide-brimmed hat. 

Indian-ink wash aud pen, slightly tinted ; roy., 7£ X 0£ in. 

Purchased October, 1872. 

25. Portrait of G. M. Moser, E.A. Caricature head in profile looking 1. wearing 

a fur-trimmed cap. Inscribed in a later hand, 11. Mozer [sic] B.A., Keeper of 
the lioyal Academy. 

Pen and sepia ; roy., of x 5J in. 

George Michael Moser, b. 1704 at St. Gall, came young to England, and 
became distinguished as a chaser, enameller and modeller; one of the most 
active of the founders of the Royal Academy, and first Keeper ; d. 1783. 

Purchased May, 1870, 

26. Two on one mount, roy,, viz, : — 

(a) Portrait op Kennett, a Fo'Gek. Head in three-quarter face turned r., 
eyes looking full. Inscribed, Bob Kennett the Upholster formerly of 
Bond S* hung for Forgery on the Bank of England. 
Indian-iuk wash and pen, slightly tinted ; Gg X 4 in. 

(6) Portrait op Schomberg, the Stone-Eater. Caricature head in three- 
quarter face, turned 1. Inscribed Bhodolf Schomberg the famous Stone-eater. 
1782. 

Pen and burnt sienna, with water-colour wash ; 7 x 5J in. 

Purchased March, 1857. 

27. A Guildhall Association Volunteer. "Whole length, standing, facing r., with 
gun held horizontally in the 1. hand, r. hand in ammuuition pouch, red and 
white uniform with blue facings. Inscribed, Guildhall Association. 

Pen and Indian ink, with Indian -ink am water-colour wash; roy., 
9| x 7f in. 

Purchased August, 1871. 
[28-33] Landscapes. 

28. View op Camelford, Cornwall. View of the houses of the town, clustered 
among woods near a bridge over the river whicli curves into the foreground; 
a hay cart is crossing the striarn, and a man with a girl behind him on his 
horse has just come to shore, 1. ; haymakers in a field on the other side, r. ; 
bare hills in the distance, 

Water-colour tint and pen ; roy., 5| X 9J in. 

Purchased October, 1886. 

29. The Valiey of Stone«, Lynton, N. Devon. With a man leading two pack 

horses. Inscribed Valley of Stones. 

Indian-ink wash and pen, very slightly tinted; roy., of x 9| in. 

30. View in the Valley of Stones, Lynton. The stream foaming down among 

rocks. Inscribed Valley of Stones. 
Water-colour tint and pen ; roy., 5| x 9£ in. 

31. View at the Mouth of the Valley of Stones. Rocks on the shore, cliffs 
and sea beyond ; children playing on the sand near tho water. Inscribed 
Valley of Sto7ies. 

Water-colour tint and pen ; roy., 5g x 9£ in. 






252 



Drawings of the British School. 



32. View on Exmoob. The top of a ' tor ' with a picnic party among the scattered 
boulders, and a wide view over the moor beyond. 

Water-colour tint and pen ; roy., 5| X 9J in. 

No. 29-32 were purchased December, 1881. 

33. Landscape in the manner op Gainsborough. A road coming into the fore- 

ground with an oak 1. and a clump of birches on a knoll r. ; at the bend of the 
road a cottage backed by woods and a man with two pack horses coming past 
it ; two other figures in the foreground r. 

Water-colour tint and pen ; roy , 7 J x 9 J in. 

Presented by John Henderson, Esq., January, 18G3. 

[34-36] Slight sketches. 

34. Two on one mount, roy., viz. : — 

(a) Head of a Public-house Keeper. A head of bull-dog type in three- 
quarter face squinting 1. Inscribed, Landlord of the Brown Bear Public 
House. 
Water-colour tint and pen ; 5f| x 4 in. 

Purchased July, 1873. 

(6) A Waterman asleep in his Wherry. 

Pencil sketch, partly touched with pen and sepia; 4£ x 6f in. 

Purchased July, 1856. 

35. Two on one mount, roy., viz. : — 

(a) Two Washerwomen. Moving away with their baskets along a path. 
Pen-and-ink ; 5£ x 4 in. 

Q>) A Happy Couple. A young man and his wife seated at a small table ; she 
is sewing, and he is sketching her. 
Pen-and-ink ; 5J x 5f in. 

36. Two on one mount, roy., viz. : — 

(a) A Girl asleep in a Chair. 

Pencil sketch ; 1\ x 6^ in. 

(b) An After-Dinner Nap. A gouty old gentleman snoring before a fire. 

Pencil sketch ; 8|x7 in. 

Nos. 35 and 36 were purchased July, 1856. 

37. Parsons and Bannister in Dibdin's Comic Opera, 'The Quaker.' 

Indian-ink wash and pen, very slightly tinted ; 7^ X 9| in. 
Etched by the artist, 1781. 

John Bannister, b. 1760, d. 1836, famous as an actor, was also a painter, a 
close comrade of Rowbindson's at the Academy schools, and his life-long friend. 
For Parsons, also known as a painter of fruit and landscape, see under James 
Roberts, No. 38. 

No. 125 in Vol. I. of the Burney Collection. 

38. Illustration to 'The Wits' Magazine.' A lady concealing her gallant in the 

fireplace at the unexpected appearance of her husband. 

Water-colour tint and pen ; 5 x 3| in. 

Inserted in Vol. in. (No. 45) of the interleaved Academy Catalogues pre- 
sented by J. H. Anderdon, Esq., November, 1867. 

[39-44] Drawingsi n the Crace Collection of London Views, purchased November, 
1880. 

39. View of Messrs. Perry's Dock, Blackwall. With a runn-of-war building; 
ferry boats and groups of passengers in the foreground. Inscribed, Ferry's 
Dock, Blackwall. 

Water-colour tint and pen ; 10| x ll\ in. 
No. 117 in Portfolio vm. 



Thomas Roivlandson. 



253 



40. Entrance to Blackwall Docks. With figures on the quay and shipping in 
the river r. Inscribed Entrance to Blackwall Docks. 

Water-colour tint and pen ; 11 J X 18J in. 
* No. 120 in Portfolio vm. 

41. The Keservoib in the Green Park. With many figures promenading. 

Water-colour tint and pen ; 7£ X 10| in. 
No. 77 in Portfolio x. 

42. The Parade, St. James's Park. With the ceremony of ' Trooping the Colour.' 

Water-colour tint and pen; 7 J X llf in. 
No. 71 in Portfolio xn. 

Published in aquatint, much modified, and with the background re-drawn by 
Pugin, in Ackerman's ' Microcosm.' 

43. Old Billingsgate on Market Day. A group of fish-wives on the wharf. 

Water-colour tint and pen ; 6 X 8| in. 

No. 69 in Portfolio xx. 

Etched by the artist and published 1796. 

44. Bag Fair, Bosemary Lane, 1784. Jew rag-merchants and a crowd of buyers. 

Water-colour tint and pen ; 6g X 10J in. 
No. 188 in Portfolio xx. 

45. Album containing 73 small drawings. 

(1) The Parson's Turkey. A cook in her larder showing a turkey to a fat 
parson, who gazes at it in rapture, while a cat claws at it. 

Water colours and pen. 

(2) (a) Pall Mall. A coach and a phaeton meeting ; pedestrians in the 
foreground. 

Indian-ink wash and pen, slightly tinted. 

Etched by the artist, 1807. 

(6) Two Volunteers op the Guildhall Association Fencing : ' Inside 
Guard, Cut at Face.' 
Water colours and pen. 

(c) Two Volunteers Fencing : ' Cut at Wrist.' 
Water colours and pen. 

(3) (a) 'Miseries of the Country.' A lady and gentleman invaded by an 
army of unwelcome callers. Inscribed with title. 

Water colours and pen. 

Etched by the artL4, 1807. 

(&) Fencing ; ' Cut at Head.' 
Water colours and pen. 

(c) Fencing ; * Cut at Breast.' 
Water colours and pen. 

(4) (a) ' Miseries op Human Life.' 
combing a lady's refractory hai 
husband in the background suffering the like operation 

Water colours and pen. 

Etched by the artist, 1807. 

(b) A Street in a Country Town. With countrymen and cart. 
Water colours and pen. 

(5) (a) ' The Tumbler or Its Affinities.' A man riding gingerly down the 
slope of a stony field. Inscribed with title. 

Water colours and pen. 

(6) 'How to Stop Your Horse at Pleasure.' A horse dashing inlo a 
stable, nearly knocking off the rider. Inscribed with title, partly cut off. 
Water colours and pen. 

(G) (a) A Young Man Biding a Nag. 
Pen-and-ink, and slight tint. 



A barber and his assistant (a negr ss) 
matted through a long sea-voyage : her 






254 



Drawings of the British School. 



(b) ' How to Travel upon Two Legs in a Frost.' A man holding on 
to his horse's neck, as it sits and slides down hill. 
Water colours and pen. 

(7) (a) In the Piazza. Covent Garden. • 

Indian-ink wash and pen. 
(b) Mourners round the Coffin at a Funeral. 
Indian-ink wash and pen, slightly tinted. 

(8) ' Miseries Personal : Singled out to dance with a disagreeable 
Partner.' Inscribed with title. 

Water colours and pen. 

(9) A Husband Beater. A man complaining to a magistrate of the injuries 
done him by his wife. 

Water colours and pen. 

(10) Interview between Lean Parson and Stout Bdhop. Inscribed, A bishop 
congratulating a poor parson said he lived in a very fine air. Yes, sir, 
replied he, I should think it so if I could live upon it as well as in it. 

Indian-ink wash and pen, with slight tint. 

(11) Heads of a Lady and Gentleman in conversation. 

Water colours and pen. 

(12) (a) ' How to Ride without a Bridle.' A man riding with a bundle 
under his arm. Inscribed with title. 

Water colours and pen. 

(5) Head of a Raptorial Bird, with a parallel human profile. 
Water colours and pen. 

(13) (a) ' A Daisy Cutter with his Varieties.' A man riding a horse 
which is about to stumble over a pig. Inscribed with title. 

Water colours and pen. 

(b) On the Moors. A party riding on a moor among mountains. 
Water colours and pen. 

(14) Heads of a Girl and an Old Woman. 

Water colours and pen. 

(15) The Drayman. A drayman carrying a barrel. 

Water colours and pen. 

(16) A Fop. A fop taking off his hat. 

Indian-ink wash and pen, tinted. 

(17) A Lady. Half-length seated figure in pink dress and cap looking r. 

Indtan-ink wash and pen, tinted. 

(18) (a) Heads of a Rabbit and a Rabbit-like Lady. 

Water colours and pen. 

(b) Bringing in Coals. A servant bringing in coals to a couple seated 
before the fire. Inscribed, . . . of Norfolk & Francis Scudamore of Home 
Lacy, Herefordshire. 
Water colours and pen. 

(19) Head of a Woman. 

Water colours and pen. 

(20) (a) Sketch of a Woman with Hands Stretched Oct. 

Pen-and-ink. 

(b) A Woman seated on a Couch. 
Pen-and-ink and slight tint. 

(c) ' Bailiffs Outwitted.' A woman pouring scalding water on two 
bailiff's, as the debtor escapes through the window. Inscribed with title. 

Indian-ink wash and pen, with slight tint. 

(21) (a) An Ostler's Courtship. An ostler courting 
the edge of a water-trough. 

Water colours and pen. 

(7>) A Shop with Penthouses. 

Indian-ink wash and pen. 



a farm girl, who sits on 



Thomas Bowlandson. 



255 



(22) (a) Men launching a Boat into the Sea. 

"Water colours and pen. 

(6) Miseries Miscellaneous, No. 12. Two ladies giving a message to 
a puzzled man-servant, who won't understand ; two men going off 1. 

Indian-ink wash and pen. 

Etched by the artist, 1807. 

(23) (a) Group op Two Women, Sleeping. 

Pen-and-ink, and slight tint. 

(b) Group by the Sea Shore. A sailor and his wife looking out to sea, 
the latter pointing ; a man and dog near. 
Indian-ink wash and pen, with slight tint. 

(24) (a) A Keflection. A humpback looking at himself in a mirror held up 
by a woman. 

Water colours and pen. 

(b) The Wooer Wooed. A young captain seated by his fiance'e and 
somewhat taken aback by her eagerness. Inscribed, Dear me, how I long 
to be married \ and in my own coach to be carried. 
Water colours and pen. 

(25) A Conversation. A tall lean man, with a long stick, talking to a 
corpulent acquaintance. 

Water colours and pen. 

(2G) Head of a Negro, with neck enclosed in the fork of a branch, tied 
behind. 

Water colours and pen. 

(27) An Unwelcome Meeting, A countryman and his daughter meeting an 
old beau. 

Water colours and pen. 

(28) A Boat leaving a Man-of-War. Coast in the dis!a:ice. 

Water colours and pun. 

(29) A Monkey and her Young. 

Water colours and pen. 

(30) Lawyer and Client. Study of a barrister pleading, and of his client in 
the dock listening. 

Water colours and pen. 

(31) Study of three Heads. A girl between two admirers. 

Water colours and pen. 

(32) An Indian Princess. Whole length, seated on cushions. 
. Water colours and pen. 

(33) Portrait Head of a Man. Inscribed, He ivas an ingenious, pleasant 
Fellow, and one who had a great deal of Wit and Satire, with an equal Share 
of Good Humour. 

Water colours and pen. 

(34) Head of a Lady in a Turban. 

Water colours and pen. 

(35) The Laundress. A man and a woman giving directions to a laundress 
about some linen. 

Water colours and pen. 

Etched by the artist in ' The World in Miniature,' pi. 5. 

(36) Helping a Lady over a Stile. A stout lady stepping over a stile, and 
helped by an old soldier with a wooden leg, who gives her a vigorous push 
from behind with his crutch. 

Water colours and pen. 

(37) An old Beau looking through his Eyeglass. 

Brown madder wash and pen. 



256 



Drawings of the British School. 



(38) Portrait Study of Wflliam Crockford. Head and shoulders in three- 
quarter face, looking 1. ; with hat and stick. Inscribed, Crockford the 
Shark, Keeper of Hell Gaming House, Piccadilly. 
Pen-and-ink. 

William Crockford, b. 1775, d. 1844, starting life as a small fishmonger, 
became proprietor of the famous gambling club called by his name, and 
retired a millionaire. This drawing must have been made before the 
establishment of the great club-house ' Crockford's ' in St. James's Street 
(now the Devonshire Club) in 1827, for Kowlandson died in that year. 

(39) A Man on a Pony, halting at a doorstep on which are two girls. 

Water colours and pen. 

(40) (a) An Encounter. A man in his nightshirt attacked by a man with a 
eword. 

Water colours and pen. 

(6) Head of a leering Monk. 
Water colours and pen. 

(41) Death and the Knight. Death beating with a flail a knight, whose 
opponent lies already dead, and whose horse is running off. 

Indian-ink wash and pen. 

(42) ' A Sinecurist ' ; ' A Fundholder.' Heads of an old woman and an old 
man. Inscribed with title. 

Water colours and pen. 

(43) Between Two Fires. Head of a man between two angrily disputing 
women. 

Water colours and pen. 

(44) Illustration to ' The Vicar of Wakefield,' Chapter XXXI. The 
wedding procession to the church. Inscribed, Even as were going along to 
church, to which I led the way, all gravity had quite forsaken them, and I 
was often tempted to turn back with indignation. In church a new dilemma 
arose which promised no easy solution. 

Pen-and-ink. 

(45) Illustration to 'The Vicar of Wakefield,' Chapter XXVI. The 
Vicar in prison with his family and exhorting his son. Inscribed And as 
for you, my son, continued I, it is by the labour of your hands we must all 
hope to be supported. ■' Your wage [as a] day labourer icill be full sufficient 
with proper frugality to maintain us all, and comfortably too, etc. 

Pen-and-ink. 

Engraved in aquatint (in reverse) for the edition of 1823, p. 187. 

(46) Illustration to a Story. A traveller in an inn room startled by the 
appearance of a young man in a night-dress kneeling to him with a paper 
in his hand. 

Pen-and-ink. 

(47) The Pretended Magician. A man in an armchair terrified by the 
prophecies of a ' magician ' lying 1. on a sofa, surrounded by stuffed animals 
and images ; a servant laughing in the background. 

Pen-and-ink. 

(48) Actions and Attitudes of the Human Body. Ten small separate 
figures on a single sheet. 

Pen-and-ink. 

(49) Action of the Bones and Muscles of the Human Body. Ten studies 
similar to the preceding. 

Pen-and-ink. 

(50) (a) In Covent Garden Market. A stall of shrubs and flowers in pots, 
with a man leaning against a post and a woman seated near, smoking a pipe. 

Pencil, with water colours and pen in parts. 

(l>) Street Scene. A fat lady and her boy, followed by a dog, passing a 
shop door. 
Pencil, with water colours and pen iu parts. 



Thomas Rowlandson. 



257 



(51) Three Men in Sixteenth Century Costume. 

Water colours and pen. 

(52) Kynance Cove, Cornwall. 

Water colours and pen. 

(53) The Lizard Light House. Inscribed, Lizard Light House. 

Water colours and pen. 

(54) (a) Illustration to an Eastern Story. A youth and two ladies at 
supper, interrupted by men rushing in with bastinadoes. 

Water colours and pen. 

(6) Illustration to an Eastern Story. A prince and princess seated 
on a divan surveying trunks full of stuffs. 
Pen-and-ink. 

46. Album, containing 58 small drawings. 

(1) A Farmyard. A farmer and a milkmaid watching ducks and pigs 
feeding. 

Water colours and pen. 

(2) A Thames-side Wharf. Boats being loaded with barrels at a wharf. 

Water colours and pen. 

(3) The Landlady. An old bachelor by his fireside turning to talk to the 
fair landlady. 

Water colours and pen. 

(4) Angling. A man baiting his hook on the bank of a pond, with a girl seated 
by him ; a house in a garden beyond. 

Water colours and pen. 

(5) 'The Beauty and the Beast.' A hideous pimply-faced man offering 
two huge money-bags to a scornful beauty. Inscribed with title. 

Water colours and pen. 

(6) ' Peace and Plenty.' A soldier and sailor, home from the wars, each 
with a wooden leg, drinking punch with a woman who sits between them 
on their knees. Inscribed with title. 

Water colours and pen. 

(7) At Chiselhurst. A tradesman meeting a girl with flowers in her hand 
in front of the gate of a park which a man in a cloak is entering. Inscribed 
with a quotation from a guide book, Chiselhurst, A village near Bromley, 
etc. 

Water colours and pen. 

(8) The Faro Table. A group of gamblers round a hazard table. 

Water colours and pen. 

(9) Asking the Way. A young man with a bundle on his shoulder asking 
his way of a woman riding home ; a windmill on a hill beyond. 

Water colours and pen. 

(10) The Ship's Carpenter. A naval officer giving directions to a carpenter 
who is working on the bows of a ship in dock. 

Water colours and pen. 

(11) Illustration to an Eastern Story. A man whipping another man 
whom he has harnessed to a grinding-mill. 

Water colours and pen. 

(12) ' Farewell Old Fumbler.' A sailor and a woman carrying a chest and 
a bag of money, kicked out of a house by a stout old gentleman with a 
candle in his hand. Inscribed with title. 

Water colours and pen. 

(13) The Glutton. A plethoric bald-headed glutton eating and drinking. 
Inscribed : Such, whose Sole bliss is eating, tcho can gioe hut that one Bridal 
Reason why they live. Congreve. 

Water colours and pen. 
vol. in. s 






258 



Drawings of the British School. 



(14) Portrait Study. Head of a man in three-quarter face looking I. 

Water colours and pen. 

(15) On a Balcony. A lady and gentleman drinking wine together ou a 
balcony. 

Water colours and pen. 

(16) Study of a Preacher. With face and hands uplifted. 

Water colours and pen. 

(17) Portrait Study. Half length of a man sitting at a table and smiling. 

Water colours and pen. 

(18) Head of a Divine. Profile head looking 1., wearing a skull cap. 

Water colours and pen. 

(19) The Barber. A barber pouring a stream of lather over his customer's 
face. 

Pen-and-ink, partly tinted. 

(20) South Sea Islanders. A savage with a fishing net, and another with a 
pole on his shoulder, by the sea shore. 

Indian-ink wash and pen, slightly tinted. 

(21) A Kustic Encounter. A man and woman meeting near a stile at the 
entrance to a wood. 

Water colours and pen. 

(22) 'Last Scene of All.' Head of an old man iu the last stage of 
decrepitude, watched by a buxom nurse. Inscribed with quotations from 
the Psalms, The Days of our age are three score and ten, etc., and from 
Shakespeare, Last scene of All that ends this strange eventful history, etc. 

Water colours and pen. 

(23) Masqueraders. A man and woman. 

Indian-ink wash and pen, slightly tinted. 

(24) The Visit of Dr. Syntax to the Widow Hopefull at York. Dr. 
Syntax at supper with the widow, who holds a guitar ; Squire Hearty 
peeping from behind a screen. Insciibed, Nothing is so intolerable as a 
rich Woman. 

Pen-and-ink, slightly tinted in parts. 

Etched by the artist for the Second Tour of Dr. Syntax. 

(25) 'The Old have interest ever in their eye.' Study of an old man's 
and old woman's heads, side by side. Inscribed with above title. 

Water colours and pen. 

(26) (a) Going to Market. A. young farmer and his wife walking across the 
fields with basket and bag. 

Water colours and pen. 
(b) Going to Market. A woman on a donkey with panniers followed by 
a man in a smock frock. 

Water colours and pen, 

(27) (a) Dr. Syntax and his Counterpart drinking Punch together. 

Pen-and-ink. 

Etched by the artist for the Second Tour of Dr. Syntax. 
(b) Missing the Coach. A stout lady and a boy, with many packages, 
shouting frantically to the coach already going away down a hill. 

Pen-and-ink. 

(28) (a) 'How to make the Best of Him.' A man trying to inspirit the 
jaded nag he is riding. Inscribed with above title. 

Pen-and-ink, partly tinted. 
(b) Head of a Crocodile and Parallel Human Profile. 
Water colours and pen. 
Compare the series catalogued below, No. 47. 

(29) Carpet Beating. A lady and gentleman covered with dust from a carpet 
which two men are beating in the street ; a boy pilfering from a Jew pedlar 
at the 1. Inscribed, Miserys of London. 

Water colours and pen. 



Thomas Rowlandson. 



250 



(30) The Thieving Cat. An angty cook catching a cat in the act of stealing 
a fish. 

Pen-and-ink, partly tinted. 

(31) Home from the Wars. A soldier in tattered uniform and with bare feet 
led home by his father and mother. 

Water colours and pen. 

(32) Youthful Thieves. Two boys and two girls interrupted while stealing 
from a greengrocer's shop by an old woman who attacks them with a broom. 

Water colours and pen. 

(33) Market at Woolwich (?). Women buying crockery at a stall in an 
open air market ; shipping beyond. 

Water colours and pen. 

(34) Woolwich Market. Buyers and sellers at the stalls; a church in the 
background. 

Water colours and pen. 

(35) Horses taking Fright in a Storm. A waggon with four horses, bolting 
in fright at a thunder storm, thro.ving the driver into the road. 

Water colours and pen. 

(30) ' Farmer Gillett op Brizenokton.' The farmer looking on while his 
wife feeds poultry in a yard. Inscribed with above title. 
Water colours and pen. 

(37) Fishwives abusing each other. Two old fishwives on a beach enjoying 
a wordy combat with the utmost energy ; groups of people near. 

Water colours and pen. 

(38) ' Bailiffs Outwitted.' The same subject as No. 45 (20) (c), slightly 
modified. 

Water colours and pen. 

(39) 'La Laitiere et le Pot de Lait.' A milkmaid who has stumbled and 
fallen with her pot of milk; a church aud trees in the foreground. 
Inscribed with title. 

Indian-ink wash and pen, slightly tinted. 

(40) • A Horse with a Nose.' A man starting from an inn door and vainly 
trying to pull his horse's head round ; rustics drinking outside the inn. 
Inscribed with title. 

Water colours and pen. 

(41) ' The Caricature Portfolio.' A group of men and women looking over 
a portfolio at a desk together. Inscribed with title. 

Water colours and pen. 

(42) A Windy Day. Two girls, one of them blown down by a gust, the other 
carried up with her umbrella into the air ; an old man and his daughter 
struggling against the wind. 

Pen-and-ink, partly tinted. 

(43) ' Flights of Fancy — Sign of the Bear Broke Loose.' A man wriggling 
with fright on his bed at the entrance of a bear into the room, while his 
wife crawls under the bed, and a monkey and three puppies chatter and 
bark defiantly. Inscribed with title. 

Pen-and-ink, partly tinted. 

(44) The Enraged Ox. Street scene; an old gentleman pinned to a door, 
round the neck, by the horns of an enraged ox, while a crowd of men and 
women beat the ox or run away in fright. 

Indian-ink wash and pen, slightly tinted. 

Etched in reverse by the artist, in ' Miseries of Human Life,' 1808. 

(45) 'Commercial Dock, Deptford.' The entrance to the dock, with a 
glimpse of the river; sailors round a capstan in the foreground. Inscribed 
with title. 

Pen-and-ink, partly tinted. -"- 

c 2 






260 



Drawings of the British School. 



(4G) The Concealed Lover. A man and hi&wife in night-dresses threateningly 
opeuing a door, behind which the lover lies coacealed ; a girl at the 1. stands 
protesting, with arms outstretched. 
Indian-ink wash and pen, tinted. 

(47) The Baby. A nurse presenting a baby to its father. 

Pen-and-ink, partly tinted. 

(48) ' Eoad to Ruin.' A man and a woman riding together ; following thera, 
a man in a light pony-cart, driven by a woman. Inscribed with above title. 

Water colours and pen. 

(49) Waggoner and Chambermaid. A maid with a candle coming out of an 
inn door to speak with a waggoner who has juot uuliarnessed his horse. 

Indian-ink wash and pen, slightly tinted. 

(50) Illustration to an OrERA. A young lady between an officer and a 
divine, holding their hands, while all sing. 

Indian-ink wash and pen, slightly tinted. 

(51) A Mishap. A lady pitched from her horse on her head and exposed to* 
the astonished curiosity of her Irish servant. 

Water colours and pen. 

(52) Prisoners Embarked in a Boat. Soldiers putting a man on board a 
boat to join a number of others. 

Pen-and-ink, partly tinted. 

(53) A Dance op Death. Skeletons in a churchyard dancing to Death's 
piping. 

Indian-ink wash and pen, slightly tinted. 

(54) Mounting a Horse. A stout little man trying to mount a restive horse, 
while a woman beats a barking dog with a broom. 

Indian-ink wash and pen, partly tinted. 

(55) Two Monks and a Nun. 

Pen-and-ink, partly tinted. 

Nos. 45 and 46 were presented by E. Gilbeitson, Esq., November, 1901. 

47. Album op 'Comparative Anatomy'; grotesque parallels between the facial 
expressions of men and animals. 

(1) Title : sketches from the skulls of man, ass, elephant, horse, hog, stag, and 
ox. Inscribed with title Comparative Anatomy. Resemblance between the 
Countenances of men and Beasts. 

Pen-and-ink. 

(2) Parallel between Tiger and Warrior, dull Man and Donkey. 

Pen-and-ink and water-colour tint. 

(3) Heads of Rhinoceros and Cockatoo, with human parallel*. 

Pen-and-ink and water-colour tint. 

(4) Grotesque Faces. 

Pen-and-ink. 

(5) Heads of Cow and Bull, with human parallels. 

Pen-and-ink. 

(6) Sea- Wolf, Lizard, and Red Gurnet, with human parallels 

Pen-and-ink. 

(7) Heads of Young Ladies. 

Pen-and-ink. 

(8) Porcupine and Pig, with human parallels. Inscribed, Amongst the 
numerous religions in the world, there is one which teaches us that the souls 
of human beings poet into the bodies of other animals — 1'ythogoreans. 

Pen-and-ink. 

(9) Birds of Prey, with human parallels. 

Pen-and-ink. 

(10) Gurnet and John Dory, paralleled by an old lady and a college don. 
Pen-and-ink. 



TJiomas Bowlandson. 



261 



(11) A Band of Grotesque Creatures, playiug various instruments. 
Pen-and-ink. 



Inscribed with Latin 



(12) Profiles of Man and Dog, Man and Cock. 
quotations. 

Pen-and-ink. 

(13) Heads of Duck, Peacock, Chamois, and Ostrich, with human parallels. 
Inscribed in a later hand with names, and with the sentence quoted on 
No. (8 ) 

Pen-and-ink. 

(14) Head of Rousseau (?) Inscribed, Rousseau, Moliere, Racine, La Fontaine. 

Pen-and-ink. 

(15) Mantelpiece with Grotesque Ornaments, and heads with numbered 
bumps above. 

Pen-and-ink, and Indian-ink wash. 

(16) Various Types of Physiognomy. 

Pen-and-ink. 

(17) An Elephant and a Squirrel, paralleled by an old toper with swollen 
nose and an old woman. 

Pen-and-ink. 

(18) Various Types of Physiognomy. 

Pen-and-ink. 

(19) Men in a Jury Box. Inscribed, Special Jury. 

Pen-and-ink. 

(20) Eagle and Ox, with human parallels. 

Pen-and-ink. 

(21) Bear and Eam, with human parallels. 

Pen-and-ink. 

(22) Types of Profile. 

Pen-and-ink and pencil. 

(23) Grotesque Heads. 

Pen-and-ink. 

(24) Grotesque Heads, and heads of Spalding and Moncrieff. 

Pen-and-ink. 

(25) Two Monkeys, with human parallels. 

Pen-and-ink. 

(26) Monkey and Rhinoceros, with human parallels. 

Pen-and-ink. 

(27) Types of Face. Inscribed, The Malignant, the Old Trifler, the Dissembler, 
the Busybody, the Ostentatious, the Suspicious, the Penurious, the Plausible, 
the Detractor. 

Pen-and-ink. 

(28) A Black Heron and a French Priest; heads of S. Clarke and Sultzer. 

Pen-and-ink. 

(29) Head of a Cock Contrasted with that of a Woman ; head of a lion 
and of a man. 

Pen-and-ink. 

(30) Heads of Satyrs, and Head of a Negro. 

Pen-and-ink. 

(31) Head of a Man and Head of a Goat. 

Pen-and-ink. 

(32) Study for a Picture ; the Incredulity of St. Thomas. 

Pen-and-ink. 

(33) Studies of a Head. Inscribed, Study for a Picture of a good Man on 
his Death Bed. Hayman (?) 

Pencil. 






262 



Drawings of the British School. 






(34) Head of John Dory and Fishwife ; head of a bald man and a porpoise.. 

Pen-and-ink. 

(35) Head of a Man with a Beard. Inscribed, Honhle. Worthy Montague- 
And three other heads. 

Pen-and-ink. 

(36) Paralleled Heads ; a hare and a Turk ; a monk and a jackal. 

Pen-and-ink. 

(37) Grotesque Heads. 

Pen-and-ink. 

(38) Head of a Fop, and Head of a Camel ; head of an old woman and a 
shrew. 

Pen-and-ink. 

(39) Ape-like Heads. 

Pen and-ink and pencil. 

(40) Heads of a Cock, Guinea Pig, and Sheep, with human parallels. 

Pen-and-ink. 

(41) A Satyr's Head. 

Pencil. 

(42) Grotesque Creature. 

Pen-and-ink. 

(43) Grotesque Creature. 

Pen-and-ink. 

(44) Types of Face. 

Pen-and-ink. • 

(45) Types of Face. 

Pen-and-ink. 

(46) Grotesque Types. 

Pen-and-ink. 

(47) Two Heads ; also head of an ox, with two human parallels. 

Pen-and-ink. 

(48) Types of Profile, male and female. 

Pen-and-ink. 

(49) Heads of Horses, and two grotesque heads of men. 

Pen-and-ink. 

(50) Heads of Animals and Men, partly repeated from No. (39). 

Pen-and-ink. 

(51) Bust of Gall the Phrenologist, with skulls of men and animals heaped 
round it. Inscribed, Josephus Gall MVCCCXX. 

Pen-and-ink. 

(52) Head of a Lion; and two heads of u.en in wigs. 

Pen-and-ink. 

(53) Grinning Grotesque Heads. 

Pen-and-ink. 

(54) Studies of Contorted Expression. 

Pen-and-ink. 

(55) Studies of Profiles. 

Pen-and-ink. 

(56) Two Dwarfs Embracing ; and three grotesque creatures. 

Brush and sepia over an outline transferred from another drawing (see 
note on Gainsborough, No. 18, Vol. II., p. 176). 

(57) Fishes, and fish-like human profiles. 

Pen-and-ink. 

(58) Head of Men and of animals resembling them in particular features.. 
Inscribed with notes in Latin, 

Pen-and-ink. 



TJwmas Rowlandson. 



263 



(59) Head op an Owl and of a Judge ; also three men's heads. 

Pen-and-ink. 

(60) Cabicature Figures in Elizabethan Dress, and two grotesques. 

Pen-and-ink. 

(61) Heads of Military Men of the Eighteenth Century. 

Pen-and-ink. 

(62) Grotesque Figures. 

Brush and sepia over transferred outline. 

(63) Skulls of Animals repeated from No. (1). Inscribed, The lameness of 
graminivorous animals and beasts of burthen is shown by the long, the pairing, 
and the inbent lines — for Example, the Horse, the Ass, the Deer, the Hog. 
Above, a note headed Comparative Anatomy. 

Pen-and-ink. 

(64) Two Heads of Koman Emperors, and two other types of profile. 

Pen-and-ink. 

Presented by E. Gilbertson, Esq., December, 1885. 

48. Album, containing sketches from the antique, all in pen-and-ink outline, some 
inscribed with notes on the persons represented. 

(1) Bust of Alexander. 

(2) Bust of Brutus. 

(3) Bust of Lucius Verus. 

(4) Bust of Nero. 

(5) Bust of Brutus. 

(6) Bust of Bacchus. 

(7) Bust of Esculapius. 

(8) Bust of Omphale. 
(0) Bust of an Athlete. 

(10) Bust of Galba. 

(11) Bust of Theophrastus. 

(12) Bust of the Nile God. 

(13) Bust of Antinous. 

(14) Bust of a Faun. 

(15) Bust of Hippocrates. 

(16) Bust of Hadrian. 

(17) Bust of Vespasian. 

(18) Bust of Lucius Verus. 

(19) Bust of Claudius Albinus. 

(20) Bust of Lucius Verus. 

(21) Bust of Hadrian. 

(22) Bust of Augustus. 

(23) Mutilated Statue of an Amazon. 

(24) Bust of Claudius. 

(25) Bust of an Athlete. 

(26) Bust of an Egyptian Priest. 

(27) Bust of a Faun. 

(28) Head of Antinous. 

(29) Bust of a Young Roman. 

(30) Bust of Bacchus, 



264 



Drawings of the British School. 



(31) Bust of Hercules. 

(32) Bust op Lucius Vebus. 

(33) Bust op Septimius Severus. 

(34) Bust of Menelaus. 

(35) Bust of Hercules. 

(36) Bust of Minerva. 

(37) Bust of Bacchus. 

(38) Bust op Bacchante. 

(39) Bust op a Faun. 

(40) Bust op Bacchus. 

(41) Bust op Comedy. 

(42) Bust of a Young Girl. 

(43) Bust of Serapis. 

(44) Bust of Antoninus Pius. 

(45) Bust of Tragedy. 

(46) Bust of Paris. 

(47) Head of Helios. 

(48) Head of Medusa. 

(49) Head op Isis. 

(50) Bust of a Boy. 

(51) Bust op Xenophon. 

(52) Bust op Minerva. 

(53) Bust of a Muse. 

(54) Bust of Bacchus. 

(55) Bust of Commodus. 

(56) Bust of a Woman. 

(57) Bust of Antinous. 

(58) Bust of Jupiter. 

(59) Bust op Virgil. 

(60) Bust op Vespasian. 

(61) Bust of Claudius. 

(62) Bust op an Athlete. 

(63) Head of a Roman. 

49. Album, containing sketches from antique statues, all in pen-and-ink outlines, 
some with slight neutral-tint wash. 

(1) Bust of Alexander. Donne" le 4 vendemiaire an xii par le Premier 

Consul au Muse'e Napoleon. 

(2) Antinous. 

(3) Antinous. 

(4) Otho. 

(5) A Faun. 

(6) Marcus Aurelius. 

(7) A Koman Emperor. 

(8) Septimius Severus. 

(9) A Vestal. 

(10) A Roman Emperor. 

(11) Zeno. 



Thomas Bowlandson. 



265 



(12) Dbusus. 

(13) Mars. 

(14) Atys. 

(15) Providence. 

(16) Child with a Goose. 

(17) The Emperor Julian. 

(18) Htgeia and Telesphorus. 

(19) Menander. 

(20) Dacian King. 

(21) Roman Emperor. 

(22) Alexander. 

(23) Pupienus. 

(24) Priest of Mithras. 

(25) Nero. 

(26) Augustus. 

(27) Esculapius. 

(28) Roman Senator. 

(29) A Roman, Seated. 

(30) The Laocoon. 

(31) A Priest. 

(32) Isis. 

(33) Minerva. 

(34) Terpsichore. 

(35) Ulysses. 

(36) Silenus. 

(37) Bacchus. 

(38) Cupid. 

(39) Meleager. 

(40) A Faun. 

(41) Esculapius. 

(42) A Priestess. 

(43) Mnemosyne. 

(44) Discobolus. 

(45) Cupid and Psyche. 

(46) Boy Extracting a Thorn from his Foot. 

(47) Roman General. 

(48) Isis. 

(49) Melpomene. 

(50) Fisherman. 

(51) Bacchante. 

(52) Mercury. 

(53) Apollo. 

(54) Egyptian God. 

(55) Draped Female Statue. 

(56) Esculapius. 

(57) Torso of Hercules. 

Nos. 48 and 49 were presented by E. Gilbertson, Esq., July, 1885. 






266 



Drawings of the British School. 



50. Album, containing slight sketches by Rowlandson on political subjects, with 
sketches supplied to him by amateurs, together with similar sketches supplied 
to Gillray (described Vol. n., p. 221). The numbers indicate the places of the 
drawings in the album, and the references are to Grego's ' Rowlandson.' 

(3) The Westminster Mendicant. Sir Cecil Wray, the rejected Candidate 
for Westminster, 1784 (Grego, Vol. i., p. 135). 
Pencil. 

(14) Sketch Supplied to Rowlandson for ' Procession to the Hustings aftir 
a Successful Canvass,' 1784 (Grego, Vol., r. p. 135). 
Pencil. 

(1G) Sketch Supplied to Rowlandson for 'The Fall of Dagon.' 
Pencil. 

(17) The Fall of Dagon. Fall of the 'Broad-bottomed' Ministry, 1784 
(Grego, Vol. i., p. 112). 
Pencil. 

(19) Sketch Supplied to Rowlandson for ' The Times or a View of the Old 
House in Little Britain,' 1784 (Grego, Vol. i., p. 114). 
Pencil. 

(21) Sketch Supplied to Rowlandson for 'The Hanoverian Horse and the 
British Lion,' 1784 (Grego, Vol. i.. p. 123). 
Black chalk. 

(23) Sketch Supplied to Rowlandson for 'Madame Blubber's Last Shift,' 
1784 (Grego, Vol. i., p. 134). 
Pen-and-ink. 

(26) Sketch Supplied to Rowlandson for 'La Politesse Francoise,' 1784 
(Grego, Vol. i., p. 147). 

Pencil. 

(27) 'Procession to the Hustings after a Successful Canvass,' 1784 
(Grego, Vol. i., p. 135). 

Pencil. 

(45) Sketch Supplied to Rowlandson for ' New-Invented Elastic Breeches,' 
1784 (Grego, Vol. i., p. 148). 
Pencil. 

(47) Sketch Supplied to Rowlandson for ' Sir Cecil's Budget for paying the 
National Debt,' 1784 (Grego, Vol. i. p., 122). 
Pencil. 

(52) Sketch for a Political Caricature. 
Pencil. 

(73) Sketch for a Portrait; a gentlemm seat.'d under a tree, with his hand 
on a dog's head. 
Pencil. 

Purchased May, 1854. 

After Rowlandson. 

The Careless Wife. A copy in a different key of colour and with more 
detail of the drawing described above, No. 3. 
Presented by E. Gilbertson, Esq., July, 1885. 



KUNCIMAN, Alexander (b. 1736, d. 1785). Painter; born at Edin- 
burgh ; pupil of J. Norris ; worked in Rome for some years from 
1766, making friends there with Fuseli ; returned to Edinburgh and 
painted subjects from history and literature; best known by a ceiling 
at Penicuik, painted with subjects from Ossian. 



Alexander Eunciman. — Prince Rupert — John Bnslcin. 267 



Design for Frontispiece to Henry Lucas 'Earl of Somerset.' The Earl 
taking leave of his wife and putting one hand to his forehead, while a waiting 
woman weeps 1. ; at the r., men-at-arms. Inscribed below, for a Char me 
againet (the power of crossed out) thought. 

Indian-ink wash and pen ; roy., 8£ X 6§ in. 

See note on the drawing of the same subject attributed to Henry Lucas, 
described above, p. 78. 

Purchased December, 1853. 



2. An Apostle. Figure of an Apostle moving 1. with hands spread out. 
sumably after an. Italian Master. Signed with monogram. 
Red chalk ; roy., 10£ x 6§ in. 
Purchased May, 1859. 



Pre- 






RUPERT, Prince (b. 1619, d. 1682). Military general, draughtsman 
and mezzotint engraver ; third son of Elizabeth, Queen of Bohemia ; 
famous for his brilliant energy and rashness as a cavalry leader in 
the English Civil War, and afterwards as Admiral under Charles II.; 
made some scientific improvements in war material ; introduced 
mezzotint engraving into England and scraped some fine plates 
himself. 

1. A Mortar on a Boat. The bows of a boat, pointing r. ; on the deck a mortar, 

over which a man is leaning; another man stands on the prow with a pole in 
his hand, and three men at the r., one pulling an oar. Above, a section of the 
loaded mortar. 

Pen and sepia, with sepia wash ; roy., G| x 7| in. 

2. Studies of Heads. A sheet of studies ; sketch of the head and bust of a youth 
with flowing hair ; many sketches of heads, and a small sketch of a mau- 
at-arms. 

Pen-and-ink ; roy., 5£ x 7£ in. 

Both purchased August, 1874, from the Earl of Wicklow. Formerly in the 
Howard Collection. 



RUSKIN, John (b. 1819, d. 1900). Author and water-colour painter; 
born in London ; pupil of Copley Fielding and J. D. Harding ; 
famous as one of the most eloquent and impassioned writers of his 
age, principally on art in its relation to nature ; also in later life 
(with immensely stimulating effect) on social and ethical subjects ; an 
indefatigable and accomplished draughtsman of landscape, architecture, 
and the objects of natural history ; Slade Professor of Fine Art at 
Oxford for two periods between 1870 and 1884; worked in England, 
France, Switzerland and Italy. 

1. At Interlaken, Switzerland. Roofs of the town among trees, enclosed by 

the near mountains which rise abruptly r , f ringed with pines, and with storm 
clouds, whitened by a passing gleam, boiling over the lower ridges. Inscribed 
Interlachen. 

Body colours on greenish grey paper ; roy., 8£ x 13 in. 

2. Fribourg, Switzerland. View looking down on a row of cottages abutting 1. on 
rock ; in front of them a well on a road leading across a little bridge; beyond, 
water crossed by another bridge, and clusters of houses beyond. Inscribed, 
Fribourg. Sketch for etchings of Swiss towns, 1859. Signed (1879) J. Buskin. 

Pen-and-ink and water colours on blue grey paper : roy., 8| X 1 1 § in. 






268 



Drawings of the British School. 



3. Two on one mount, roy., viz. : — 

(a) View near Verona. View over the plain, bounded 1. by hills, and in the 
distance by the Alps ; under the hills a great church rising by itself. 
Pencil on buff paper ; 6£ X 10 in. 

(6) View near Verona. View from a hill-side rising 1. into a ridge topped by 
a monument, and looking down on a river (the Adige) curving under the 
hills towards the r. ; in the distance a little town, and beyond, the Alps ; 
sun breaking through clouds. 

Pencil on grey paper, heightened with white ; 6$ X 10§ in. 

4. Columns in the Vestibule op St. Mark's, Venice. Two detached columns, 

covered with sculptured ornament, standing in front of St. Mark's, with portico 
behind. (The artist's love of purple has led him to translate the material of 
these into that colour for his pleasure.) 

Water colours, purple and blue, on purple paper, picked out with white; 
5| X 3^ in. 

5. The Deluge; Sculptured Relief, Bourges Cathedral. A spandril between 

two Gothic windows, sculptured with a relief representing a great bird and two 
women sinking headlong. Inscribed, Sculpture, Cathedral of Bourges, France. 
Women and birds sinking in the waters of the Flood. 
Pencil on paper of two tints, heightened with white; roy., 11| x 7-f in. 

6. Study op a dead Wild Duck. 

Water colours ; imp., 13 X 21 in. 

All purchased May, 1901. 

RUSSELL, John, R.A. (b. 1745, d. 1806). Portrait painter; born at 
Guildford ; pupil of F. Cotes ; painted sometimes in oils, but chiefly- 
celebrated for pastel portraits in a style based on that of Rosalba 
Camera; elected A. R.A. 1772 ; R.A. 1788; worked in London and 
in Yorkshire. 

1. Portrait of the Emperor Leopold I. ; after T. Worlidge. Head nnd bust 
in three-quarter face turned r., with broad-brimmed hat over flowing hair. 
Signed : John Bussell delin., 1760. 
Pen-and-ink ; 7£ X 5f in. 
A boyish drawing, made in the artist's sixteenth year. 

Purchased May, 1891. 

RYLAND, William Wynne (b. 1732, d. 1783). Engraver; born in 
London ; pupil of S. F. Ravenet, in London, and of Boucher (for 
painting) and J. P. Le Bas, in Paris ; introduced the chalk or stipple 
manner of engraving into England, producing numerous popular 
plates, chiefly after Angelica Kauffman ; hanged for forgery. 

1. Illustration to Fielding's 'Tom Jones.' Sophia, fainting at the pretended 
news of Tom Jones' death, is supported by Lord Fellamar and Lady Bellasto ; 
groups at tables in the background. (The ideutificatiom of the scene is 
doubtful.) 

Indian-ink wash and pen ; circle ; roy., 7 in. diam. 

Purchased August, 1875. 

RYLEY, Charles Reuben (b. about 1752, d. 1798). Painter; born in 
London ; began as an engraver ; studied painting under Mortimer, 
whose style he followed ; painted decorations for houses, and designed 
illustrations for books. 
1. Three on one mount, roy, viz. : — 

(a) Illustration to Macbeth, Act il, so. 2. Macbeth staggering from a 
doorway, stayed and exhorted by Lady Macbeth. 
Indian-ink wash and pen ; 3| x 2f in. 



Charles Beuben Ryley. — John Michael Rysbrack. 



269 



(6) Illustration to 'As You Like It,' Act. n., sc. 7. Orlando interrupting 
with drawn sword the dinner of the banished duke and his courtiers in the 
forest. 

Indian-ink wash and pen ; 4£ x 3 in. 

(c) Illustration to 'Twelfth Night,' Act iv., sc. 1. Sebastian and Sir 
Toby stopped in their quarrel by Olivia. 
Indian-ink wash and pen ; 4| x 3£ in. 

Bequeathed by Felix Slade, Esq., August, 1868. 

A ' No Popery ' Riot. An uproarious crowd, in the centre of which is a man 
waving a hat, and holding a tlag inscribed ' No Popery ' Beside him is a man 
with frothing tankard ; at the 1. two women fighting, and behind, a man on 
horseback among the crowd ; at the r. a man helping a woman who has fallen 
down. Signed C. R. Ryley. 

Sepia wash and pen ; roy., 4§ X 11§ in. 

Purchased March, 1868. 

Devonshire Place and Wimpole Street from the New Road. Signed 
C. R. Ryley delt. 

Indian ink ; 4 J X 7 in. 

Engraved by G. Barrett, 1799. 

No. 96 in Portfolio XXX. of the Crace Collection of London Views, purchased 
November, 1880. 



RYSERACK, John Michael (b. about 1693, d. 1770). Sculptor; son 
of an Antwerp painter ; studied at Antwerp ; came to England 1720, 
and became the most fashionable sculptor of his day ; executed a 
number of monuments and excellent portrait busts ; worked in 
London. 

1. Design for Monument to Sir Isaac Newton in Westminster Abbey. A 
lofty pyramidal relief, representing Newton reclining on a sarcophagus (adorned 
with sculptures of child genii) and pointing to a scroll held by two winged 
cherubs ; above, Urania reclining on a globe, beneath a star. Signed, Michael 
Rysbrack, Sculptor, fecit. 

Sepia wash and pen ; roy., 13| X 6 J in. 

2. Design for Monument to Earl Stanhope in Westminster Abbey. A 
pyramidal relief, representing Earl Stanhope in Roman costume reclining on a 
sarcophagus, with Britannia seated above and a cherub supporting a shield 1. 
Signed, Michael Rysbrack, Sculptor, fecit. 

Sepia waBh and pen ; roy., 13| x 6£ in. 

Nos. 1 and 2 were purchased July, 1859. 

3. The Witches in ' Macbeth.' The three witches moving from the 1. round a 

smoking cauldron, chanting as they go. 

Sepia wash and pen over red chalk, heightened with white: roy., 7£ X 9J in. 

Purchased July, 1865. 

4. The Witches in 'Macbeth': another design. The three witches moving 
round their cauldron ; the figures closer to each other and to the cauldron than 
in the preceding design. 

Sepia wash and pen over red chalk, heightened with white ; roy., 8f x 5J in. 

Purchased August, 1868. 

5. St. Joseph ; Study for a ' Flight into Egypt.' Joseph walking with a staff 

towards the 1., holding in his hand the bridle of the ass (which is not seen). 
Sepia and red chalk ; roy., 1\ x 4£ in. 

Bequeathed by W. Fuwkeuer, Esq., 1799. 



LONDON : 
PRINTED BY WILLIAM CLOWES & SONS, LIMITED, 

DtJKE STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W. 



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